The tour is a plot point in the 1980 musical Barnum and the 2017 film The Greatest Showman, both of which include a fictionalized relationship between Lind and Barnum with "romantic undertones". At the time of her tour, the debate over slavery in the United States had been intensified by the Compromise of 1850. American abolitionists attempted to secure Lind's support for their cause, but she refused to comment on the institution. After meeting Lind in July 1851, British abolitionist Judith Griffiths wrote that "the colored people are regarded by her as beneath humanity – and too unworthy to be educated... She seemed horrified at colored people – I now know for myself that she is thoroughly pro-slavery – I am so grieved." Abolitionist lawyer Maunsell Field wrote that "she had an abhorrence for negroes she could not overcome. 'They are so ugly', she used to say." Yet in June 1852, Lind donated $100 to Harriet Beecher Stowe to free the Edmonsons, a Black family enslaved in Washington, D.C., praising Uncle Tom's Cabin as "having been a strong means in the Creator's hand of operating essential good in one of the most important questions for the welfare of our black brethren." Historian Joan D. Hedrick suggested that Stowe's book "may have changed Lind’s heart". Later years Lind and Goldschmidt returned to Europe together in May 1852. They lived first in Dresden, Germany, and, from 1855, in England for the rest of their lives. They had three children: Otto, born September 1853 in Germany, Jenny, born March 1857 in England, and Ernest, born January 1861 in England. Although she refused all requests to appear in opera after her return to Europe, Lind continued to perform in the concert hall. In 1856, at the invitation of the Philharmonic Society conducted by William Sterndale Bennett, she sang the chief soprano part in the first English performance of the cantata Paradise and the Peri by Robert Schumann. In 1866, she gave a concert with Arthur Sullivan at St James's Hall. The Times reported, "there is magic still in that voice... the most perfect singing – perfect alike in expression and in vocalization... Nothing more engaging, nothing more earnest, nothing more dramatic can be imagined." At Düsseldorf in January 1870, she sang in Ruth, an oratorio composed by her husband. When Goldschmidt formed the Bach Choir in 1875, Lind trained the soprano choristers for the