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Published online by Cambridge University Press: 01 January 2020
To grangerize is a verb not much used by musicologists. As defined by the Oxford English Dictionary, it refers to that process by which an existing book is made larger—and sometimes vastly so—by the binding into it of various prints, photographs, letters, maps and other documents chosen to provide extra illustrations for the parent volume. Given that this nearly always involves the cannibalization of certain other books en route, the art of grangerizing is not something of which all true lovers of books readily approve, yet there have been a number of works so produced whose final state is far and away more interesting and important than that of the original. One such is the subject of the present article.
1 See The Times obituary of 18 April 1916 (and also Who was Who 1916–1918) for an account of his career. According to The Times, Broadley died at Gerrard's Cross on Saturday the 15th of April; Who was Who, on the other hand, makes it the 16th.Google Scholar
2 The foundation stone was laid on 19 July 1894 and is incised F. J. B. (his mother's initials presumably) and A. M. B. His father died in 1893. Though The Times obituary of 18 April 1916 describes Alexander as the eldest son, I have found no reference elsewhere to a younger brother, and it is clear from other sources that A. M. B. was deeply attached to his mother (who died in 1908).Google Scholar
3 A catalogue of his collection (Collectanea Napoleonica) was compiled by Walter V. Daniell and published in 1905. There are three copies in the Bodleian Library, Oxford, one in the British Library, and several in America. Also in the Bodleian is a copy of J. H. Rose's book on Napoleon (1905) grangerized by Broadley into 28 volumes.Google Scholar
4 See for instance ‘The Annals of the Haymarket’ cited by Judith Milhous and Robert Hume in their edition of Vice Chamberlain Coke's Theatrical Papers, 1706–1715 (Carbondale and Edwardsville, 1982), and by Ronald C. Kern in Theatre Notebook, 14(1959–60).Google Scholar
5 Another work on the same subject (Adiposity: its Cures and its Curiosities) compiled by F. J. and A. M. Broadley in 1904–7 is listed in the sale catalogue of Broadley's library (see n. 11), but was presumably never published. Among his other surprisingly diverse output are histories of Garrard's, the crown jewellers and goldsmiths (1912), and the Pall Mall restaurant in the Haymarket (1913).Google Scholar
6 The line of descent is shown on a brass plaque affixed to the south wall of the Lady Chapel of St Mary's, Bridport, beautified anonymously by A. M. Broadley in July 1900.Google Scholar
7 Broadley's new title-page quoted above is that for the series as a whole and bears the date 1908. A somewhat shortened version (dated 1909) is separately prefixed to each volume in turn and refers to the parent work as having been ‘Extra-Illustrated into Eleven Volumes by A. M. Broadley …'. Broadley's rather amateurish attempt to investigate the background of his musical forebears has since been vastly extended by Simon Heighes in his Oxford D.Phil, thesis of 1990: ‘The Life and Works of William and Philip Hayes (1708–77 & 1739–97)'.Google Scholar
8 The reference is to his great-grandfather, Philip Hayes, whose legendary corpulence (see Appendix B) had earned him the nickname locally of ‘Phil Chaise’.Google Scholar
9 Press-mark 25889 H. c.1.; other copies in Yale University Library, and in the Bath Public Library. For the latter, see Jon A. Gillaspie (comp.), The Catalogue of Music in the Bath Reference Library to 1985 (London, 1986), i, 379 (and other Broadley references therein). The help of J. S. Bumpus and the Oxford music seller T. W. Taphouse in the formation of his Hayes collection is acknowledged in a preliminary note to the catalogue.Google Scholar
10 There is naturally no reference to this in The Times obituary, but the fact is mentioned in a note added by R. Grovenor Bartelot to a letter from Broadley to him dated 14 April 1914 which is to be found in the third of four books of newspaper cuttings and other ephemera relating to Broadley's achievements and interests which he evidently employed a London press agency to compile. These are now in the Bodleian Library, Oxford (press-mark 3995 b. 1–4). Bartelot (originally Bartlett) was a friend of Broadley's who had collaborated with him on two of his Napoleonic books.Google Scholar
11 There is a copy of the sale catalogue in the Bodleian Library, Oxford (press-mark 2591 d.2), and another in Harvard University Library. The first portion consisting of 243 items was disposed of on 21 July 1916, the second (564 items) on 7–8 December 1916, the third (325 items) on 12 July 1917, the fourth (757 items) on 12–14 December 1917 and the last (341 items) on 9 May 1918. Apparently no fewer than 135 titles in the collection had been grangerized by Broadley to produce a total of some 600 volumes. The furniture and other contents of the house were sold by a local firm of auctioneers (William Morey & Sons) on 8 September 1916 (when the Sheldonian organ keyboard mentioned above fetched the grand sum of three shillings).Google Scholar
12 Hodgson's bill for £52 dated 14 December 1917 and made out to Roland Austin Esq. still lies loose at the end of volume I. One or two further items like the letter from Dame Ethel Smyth and an autograph programme note for the Ballade in A minor by Samuel Coleridge-Taylor have been added since the collection arrived in Gloucester.Google Scholar
13 See Musical Times, 63 (1922), 576.Google Scholar
14 See Bennett, William, ‘Hayes, Linley and the Three Choirs Festival’, Monthly Musical Record, 67 (1937), 107.Google Scholar
15 Among a small handful of earlier items is the frontispiece to Playford's Select Ayres and Dialogues (1659) and the portrait of Henry Purcell prefixed to the original 1683 edition of his Sonnata's of III Parts. There is also an engraving by Jacob Matham (of an allegorical drawing by Goltzius) published in 1615, and an amusing musical print by Giuseppe Mitelli dated 1656.Google Scholar
