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Lithographs and prints were made from the four portraits that had been taken of him during his life. Wax models of his body were constructed, one of which was exhibited as far away as America and resided until recently in the American Dime Museum in Baltimore, Maryland. There were even Lambert collectibles, such as whisky crocks fashioned in his image. This interest in Lambert continued well into the mid-century. 2). While objects associated with Lambert continued to be disseminated throughout the nineteenth century, legends about him also spread.

31. Goddard, 493. 32. Ibid. 33. Merrick, 224. 34. Ibid. 35. Handbill from Piccadilly Mall exhibition in February 1885, Evanion 2905. 36. “Giants and Dwarfs,” 434. M. R. Werner notes that a London magazine reported this same figure on September 18, 1847. See Barnum (New York: Harcourt, Brace and Company, 1923), 96. ) Daisy and Violet Hilton made up to five thousand dollars a week in the early twentieth century and, as Allison Pingree points out, socialized with Harry Houdini, Eddie Cantor, and Bob Hope.

16 INtroduction and “responsibility” to reconsider notions of the freak as an exploited or abused victim of the photographer. In “A Collaborative Aesthetic: Levinas’s Idea of Responsibility and the Photographs of Charles Eisenmann and the Late Nineteenth-Century Freak-Performer,” Smit argues that it was a much more mutually engaged process that valued physical difference rather than degrading it. In these artistic productions, we can see both how mainstream Victorian culture articulated freakery and how such notions were disseminated to the public.

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