less to fatty degeneration of the heart. At that time he was five feet eleven inches in height, and weighed 739 lbs., or 52¾ stone. He thus greatly exceeded in size the two men who had hitherto been most famous for their corpulence, John Love, the Weymouth bookseller, who died in October 1793, weighing 26 stone 4 lbs., and Edward Bright of Maiden, who died 10 Nov. 1750, weighing 44 stone. Since his death he has become a synonym for hugeness. Mr. George Meredith, in 'One of our Conquerors,' describes London as the 'Daniel Lambert of cities,' Mr. Herbert Spencer, in his 'Study of Sociology,' speaks of a 'Daniel Lambert of learning,' and Mr. Donisthorpe, in his 'Individualism,' of a 'Daniel Lambert view of the salus populi.'
A suit of Lambert's clothes is preserved at Stamford, and in the King's Lynn Museum is a waistcoat of his with a girth of 102 inches. There are several portraits of Lambert; the best is a large mezzotint in Lysons's 'Collectanea' in the British Museum Library, where are also a number of coloured prints, bills, and newspaper-cuttings relating to him. Lambert's portrait also figures on a large number of tavern signs in London and the eastern midlands.
[The Book of Wonderful Characters; Kirby's "Wonderful Museum, ii. 408; Smeeton's Biographia Curiosa; Granger's New Wonderful Museum; Notes and Queries, 6th ser. viii. 346; Eccentric Mag. ii. 241-8; Miss Bankes's Collection of Broadsides, Brit. Mus.; Morning Post, 5 Sept. 1812.]
LAMBERT, GEORGE (1710–1765), landscape- and scene-painter, a native of Kent, was born in 1710. He studied under Warner Hassells [q. v.] and John Wootton [q. v.], and soon attracted attention by his power of landscape-painting. He painted many large and fine landscapes in the manner of Gaspar Poussin, and it is stated that Lambert's paintings have since been frequently sold as the work of Poussin. At other times he imitated the style of Salvator Rosa. Many of his landscapes were finely engraved by F. Vivares, J. Mason, and others, including a set of views of Plymouth and Mount Edgcumbe (painted conjointly with Samuel Scott), a view of Saltwood Castle in Kent, another of Dover, and a landscape presented by Lambert to the Foundling Hospital, London. Lambert also obtained a great reputation as a scene-painter, working at first for the Lincoln's Inn Fields Theatre under John Rich [q. v.] When Rich removed to Covent Garden Theatre, Lambert secured the assistance of Amiconi, and together they produced scenery of far higher quality than any previously executed. Lambert was a man of jovial temperament and shrewd wit, and frequently spent his evenings at work in his painting-loft at Covent Garden Theatre, to which men of note in the fashionable or theatrical world resorted to share his supper of a beef-steak, freshly cooked on the spot. Out of these meetings arose the well-known 'Beef-steak Club,' which long maintained a high social reputation. Most of Lambert's scene-paintings unfortunately perished when Covent Garden Theatre was destroyed by fire in 1808. Lambert was a friend of Hogarth, and a member of the jovial society that met at 'Old Slaughter's' Tavern in St. Martin's Lane. In 1755 he was one of the committee of artists who projected a royal academy of arts in London. He was a member of the Society of Artists of Great Britain, exhibited with them in 1761 and the three following years, and during the same period contributed to the Academy exhibitions. In 1765 he and other members seceded and formed the Incorporated Society of Artists of Great Britain, of which he was elected the first president. He died, however, on 30 Nov. 1765, before its constitution had been completed.
In conjunction with Samuel Scott, Lambert painted a series of Indian views for the old East India House in Leadenhall Street. He also etched two prints after Salvator Rosa. Lambert was associated in 1735 with G. Vertue, Hogarth, and Pine in obtaining a bill from parliament securing to artists a copyright in their works. Lambert's portrait by Thomas Hudson is in the rooms occupied by the Beefsteak Club; another by John Vanderbank was engraved in mezzotint by John Faber the younger in 1727, and in line by H. Robinson and others. Another portrait of Lambert by Hogarth was in the possession of Samuel Ireland [q. v.] in 1782.
[Edwards's Anecdotes of Painters; Walpole's Anecdotes of Painting, ed. Wornum; Redgrave's Dict. of Artists; Arnold's Library of the Fine Arts, i. 323; Pye's Patronage of British Art; Austin Dobson's William Hogarth; Dodd's manuscript History of English Engravers (Brit. Mus. Addit. MS. 33402).]
LAMBERT, GEORGE JACKSON (1794–1880), organist and composer, son of George Lambert, organist of Beverley Minster, was born at Beverley, 16 Nov. 1794. He had his first lessons from his father; afterwards he studied in London under Samuel T. Lyon and Dr. Crotch. In 1818 he succeeded his father as organist at Beverley, and held the post until 1875, when ill health and deafness compelled him to retire. He died at Beverley 24 Jan. 1880, and was interred in the private burial-ground in North-Bar Street Within. His wife and two sons predeceased