Four textblocks, each featuring eight different endbands on the head and tail, were created as a reference set for future examinations and treatments of endbands. Sewing each style provided insight into their structures and helped explain why so many historic endbands are missing or deteriorate in specific ways.

I followed the instructions in Jane Greenfield and Jenny Hille’s Endbands from East to West: How to Work Them. Since these models consist only of text pages without covers, I selected endband styles that do not extend to the boards. The endbands I sewed include:

• Endband with a Bead on the Edge (front beads)
• Endband with a Bead on the Spine (back beads)
• Endband with a Bead on the Spine and the Edge (front and back beads)
• French Double Endband
• Renaissance Chevron Endband on Plain Wound Primary Endband
• Italian Renaissance Endband on Bead on the Spine Primary Endband
• Islamic Endband with Leather Core
• Sewn Stuck-On Endband on Linen Core

To protect these models, I made a Mylar-spined four-flap wrapper, designed to store them together while keeping the endbands visible in their housing.

This binding project was guided by Ann Lindsey.