This quiver is inspired by several Early Modern images and uses casework techniques to form a strong, light piece of kit which is both good looking and practical.
When my husband took up archery a year ago, I promised him a leather quiver if he decided he liked the sport. In the meantime, I put together a temporary version – a working mockup using a postage tube covered in canvas and hung on canvas straps. I did make him a real leather belt to hang from.
A year later, he was still enjoying archery, the temporary quiver needed repair (again) and it was high time I made the leather version!
Research & Design
I searched in vain for extant examples of longbow quivers from the 16th century, and even struggled with pictorial references. I found several images of the looser bag style (such as used on the Mary Rose) and the Italian flat/rectangular quivers, many with a slanted top. But Nico wanted the quiver to be the same as the mockup – cylindrical, with an even top.
Codices de Trajes has an image of a mid 16th century English archer, with a rounded quiver (albeit with a slanted top) and the 17th century woodcut shows a distinct cilinder form. These images do not show the suspension, but the British Library manuscript shows a practical system (with a flat quiver).
So the plan is for a cylindrical quiver, the same length as the postage tobe. The base will be rounded like these images, but will be flat inside so the nocks sit evenly for rapid draw.
Although some images (and extant cross-bow quivers) show leather over a wooden core, I’ll be making this from two layers of 2mm leather, using casework techniques. I’ve also planned some stamped decoration as seen on 16th century leather archery gear, such as the Mary Rose bracer.
This is much larger than my previous casework and needs to be very robust. I planned to use the same basic techniques as later period casework – sewn inner layer, with the outer layer glued on.
But a quiver is used in a very different way, so there will be some experimental elements – the suspension system, and making a strong, smooth mouth. And I really wanted to get it done in time for a major archery event – not ideal when trying out new ideas!
Construction
I found a piece of waterpipe to use as a form, which will cope well with the wet leather. The rounded end will be supported by cork inside – this will also stop the arrowheads going through the end of the quiver, when housed at speed.
The first step was to make this rounded end. I draw the shape I wanted and calclated the layers I’d need from the cork tiles I had. Then I cut layers of cork, glued them up and shaped to a smooth curve. I attached this to the pipe with masking tape, as a base for the leather liner.
My original thought was to have a single seam running the length, shaping the rounded end into this seam. My paper pattern test showed this was not going to work – I would need a separate end cap.
I measured and cut a circle of leather, wet it and molded it over the cork end (fuzzy/flesh side out) stretching the centre and compressing the edges. I strapped it tightly with my wool strips, then hammered the edges lightly to flatten any wrinkles.
The next day I eased it off the form and trimmed the edge.
Next, I cut a rectangle of leather, wet it and wrapped it around the tube (flesh side out), butting against the end cap and overlapping the long edge. Then tied up and left to dry overnight. The next day I unwrapped the tube and tied it more loosely, to ensure that it would not shrink tight to the tube (since I have to get this out!). Another day to dry properly.
It was fascinating to see the colour change where the water had migrated some of the tannin to the wool strips! And how much shrinkage there had been – glad I allowed extra leather.
The edges need to match, so I cleaned up the overlap edge then used this as a guide to trim the underlayer. I took out the tube and removed the tape holding on the cork block. I put some starch glue on the end of the cork, then fed the block and tube back into the leather, pressing firmly then left it to dry again.
The next day, I sewed the lining pieces – around the end (tricker than expected) then along the main seam. Just like the smaller casework pieces, this is a simple whip stitch, using linen thread with coad, using a boar’s bristle. Then I burnished the stitching to flatten it and set the stitches.
After drying overnight, I pulled the lining off the form and was impressed by how stiff it was with one layer – wet moulding really makes a difference, even at this scale!
I’d been trying to figure the best way to manage the strapping, so it is strong enough, while not actually sewn to the case (this would be hard!). I decided to glue straps around the lining, with sewn D rings for suspension, then cover these with the outer layer of leather. This should be strong and neat, and the straps will appear as ridges, which should look effective and match the art references.
I used some stand-in fabric tapes to get the hanging positions – looks promising!
On with the straps!
I cut the straps, wet the leather and moulded them over the D rings, clamping to set. Once dry, I sewed in the Ds, then skived (shaved) the ends and then wet moulded over the lining – now back on the pipe to support it. I straped these well and set them to dry in the sun. I did the same with the plain top ring.
By evening, all the straps were dry enough to glue into position on the lining, using hide glue. The skived ends are also overlapped and glued to add to the strength. I covered the straps with baking paper so any excess glue would not stick to my wool bands!
While these were drying, I cut a circle for the end cap (skin side out), skived all around and wet it well. I formed it over the lining end cap, working the wrinkles with a bone folder and then my hammer to make the edge smooth. I bound everything up to dry and set overnight.
The straps set well, so it was time to add the outer layer. I tested some options for slits for the D rings – round ended and simple slits. To my surprise, the simple slits were best – close fitting around the strap.
I made a paper pattern for the outer layer, marking (and testing) the slots for the D rings. I measured and cut the outer layer, skived all the edges, cut the measured slits and soaked the leather. I wrapped this over the form, threading the slits over the rings – they fit perfectly!
To keep everything in place, I wrapped my wool bindings around the leather, leaving the straps clear. Then I used my bone folder to shape the leather over the straps. To ensure crisp edges, I tied strings on each side of the straps, pulling tight. Then added more straps and set to dry.
I had planned to remove the outer layer, then glue it back on with starch glue on the main areas and hide glue along the skived edge.
However, the outer latyer of leather was so firmly set in place, I decided to just ease up the skived edge and glue it back down with hide glue. Even that was a challenge – I had to force my finger in to make space for the glue! I bound it up again to set overnight.
The next day I finally removed the quiver from the pipe form – it was so firmly set, it took two of us.
To finish the open end, I wet the skived edge thoroughly, then folded it over the rim strap and smoothed the skived edge with my bone folder. I wanted to keep it tight against the inside of the tube and ended up using a pastry cutter, wrapped in tape to prevent the iron turning the leather black.
This next day I removed the pastry cutter, carefully peeled back the leather edge, applied hide glue and set it back to dry.
While it was drying, I wet down the areas around the bands and tooled them with a double groove to emphasise them – and hide the string lines.
The stamp
I had some lovely bronze stamp blanks from Keystone Forge, based on an extant medieval leather stamp. I ground one down to a circle then marked out the design – a cogwheel, from Nico’s heraldry. I worked at it with a fine drill and a dremel, but the bronze proved too hard for my tools and/or my skills š
After a couple of hours, I had to abandon it – no stamping for this piece. Working against a deadline always means compromiseā¦
Finishing
I had thought to stain the quiver black with iron, but my husband decided he preferred it brown, like the Yates manscript. Leather goes a lovely brown from exposure to sunlight – as the end cap and straps show, but the main body was cut from a fresh hide and was very pale! After discussion with Nico, I stained it lightly and then polished it. It is a bit blochy, but will eventually go darker and look more even.
At this point I ran out of time – it was time to leave for the event…
I cut some strapping and took my leatherworking kit with me, but there was (of course) no time at the event, so he used the old mockup quiver all week (and won several archery competitions!).
After the event, I finally got to finish the quiverā¦
The first step was to sew a heavy ring into Nico’s archery belt. I checked the position, cut the belt, then wet molded the ends over the ring. Once they were dry, I sewed them in place.
To make sure the straps were the right length, I rigged up the quiver with temporary straps and Nico tried it out in the field, adjusting as needed.
With the lengths confirmed, I cut straps to size, wet moulded and sewed them to the suspension ring on the belt and the D rings on the quiver.
Nico tried it out and asked for the front strap to be shortened a little – I cut the stitching, wet the leather and formed it again, and re-stitched.
Finally done an in use!
Afterthoughts
I’m pleased with the end result – and it’s a far cry from the temporaru version! The process worked well, the quiver is surprisingly strong and I like the proportions and the molding over the straps. The suspension system works really well and should stand up to hard use.
Working to a deadline never gives the best results and there are some things I would do differently – finding a way to make the stamp work, testing the brown dye and finding a smoother way to apply it.
But Nico likes it and it works well – which is the main thing!