Lord Byron’s contemporaries frequently noted (and often lamented) his popular appeal, which had made him, according to one reviewer of Childe Harold’s Pilgrimage III, a “remarkable phenomenon of the time” (RR 1966). By the time Manfred appeared in June 1817, the “remarkable phenomenon” had grown into a disturbing frenzy, affecting not only readers but also members of the public without direct knowledge of Byron’s literary works. “There is a moral disease abroad,” another critic wrote, “contagious and pretty prevalent, that may be termed the Byromania” (RR 1223). People infected by the “Byromania” simply could not get enough of the poet, with those severely afflicted sending him fan letters in droves. But Byromania – a condition often associated with indiscriminating and frantic female fans who, some complained, read Byron’s poems for all the wrong reasons – is not limited to his original audience. Much like Jane Austen’s famous “Janeites,” Byron’s admirers and readers from the Romantic period onward have created and consumed a wide variety of printed materials and other Byron-related artifacts, or Byroniana, evidencing Byromania’s multimedia impact. From books to beard oil, films to figurines, statues to soup bowls, Byron and the forms of the Byronic hero that he popularized have consistently pervaded popular culture since he catapulted to fame following the publication of Childe Harold I–II in 1812. Byron’s popular reception history reveals itself most strikingly through a methodology that looks beyond the literary and printed to the variety of quirky and kitsch, serious and sensational, digital and decorative adaptations indebted to his life and works. Though the specific forms that Byroniana takes have changed over time, clear trends emerge that demonstrate how and why Byron has fascinated popular audiences so intensely and for so long.