As a subject area, dwarfs were referred to as Midgets whenever they appeaed in newspapers advertising etc. The term “midgets” is considered outdated and offensive today. It’s more appropriate to use terms like “dwarf” or “little people.” That being said, historically, individuals with dwarfism were sometimes employed as court jesters or entertainers in various European royal courts. These individuals were often part of performances and events that amused the royal families and their guests. Later, particularly during the 19th and 20th centuries, participants were referred often as Midgets, as the above photographs show.

In art, the representation of individuals with dwarfism has been both historical and symbolic. Portraits and paintings from different periods may depict court jesters or dwarfs as a reflection of societal attitudes and norms at the time. These depictions could serve various purposes, such as entertainment, curiosity, or emphasizing social hierarchies.

The above card shows the Royal Hungarian Midgets circa 1910. A fairly obscure musical entertainment act headed by ‘Prince Andru’, alledgedly the world’s smallest man, traveling with a small group of dwarfs. Prince Andru apparently stood twenty-seven inches tall, weighed thirty-two pounds and was in his early twenties. The dwarfs perform in a beautiful well- lighted, airy miniature canopy erected on a stage, presenting a high-class program of vaudeville acts with musical numbers.

Whether this group of musicians were forced to do this to survive is not known, but it is possible in late Victorian England they would be seen as a speciality or novelty act. The Times newspaper in December 1913 recorded a dispute that was taken to law at Bow Streeet Court:

Although they had not been singled out for loss of earnings, it must have been disheartening to be considered not worthy of a full day’s pay!

There is a long history of the depiction of dwarfs in Court paintings, especially in Spain. Diego Velázquez, the prominent court painter to the King Philip IV during the 17th century.

Velázquez depicted a court dwarf in the service of King Philip IV of Spain. The title of the painting is commonly referred to as “Portrait of Sebastián de Morra,” although the actual identity of the sitter has been a subject of debate among art historians.

The painting is thought to have been created around 1645 during Velázquez’s second trip to Italy, where he was exposed to various artistic influences. Sebastián de Morra, the subject of the portrait, was a member of the court entourage and was likely employed for the amusement of the royal court. In the painting, Velázquez presents a sensitive and sympathetic portrayal of the dwarf.

One notable aspect of Velázquez’s treatment of the subject is the dignified and humanizing way in which he depicts Sebastián de Morra. Instead of relying on the typical conventions of the time that often sensationalized or exoticized dwarfs, Velázquez presents his subject with a sense of humanity, capturing his individuality and character.

The dwarf is portrayed in a relatively simple setting, emphasizing the direct gaze and engaging expression of Sebastián de Morra. Velázquez pays careful attention to details, such as the rendering of fabrics and textures in the clothing, showcasing his mastery of technique.

The portrait is characterized by its psychological depth and the artist’s ability to convey the humanity of the sitter. Velázquez was a master of capturing the personality and essence of his subjects, regardless of their social status or physical appearance.

“Portrait of Sebastián de Morra” is part of Velázquez’s larger body of work, which includes numerous portraits of the Spanish royal family and court members. It stands as a testament to Velázquez’s skill in portraiture and his ability to transcend the conventions of his time to create empathetic and humane representations of diverse individuals.

Harold Pyott, ‘The English Midget’ was another 19th century performer. According to the HeywoodHistory.com:

‘He was born in Stockport in September 1887 to Isaac and Harriet Pyott, who were both of average height, as were his two sisters. His parents died when he was 12 and he was placed under the care of his uncle, who took him to the local doctor for examination. Harold was found to be ‘normal’ in every way except size and weight. It was reported that he was visited by some of the most eminent doctors in Europe, who declared that he had a ‘strong and healthy constitution, but was certainly the smallest human being they had ever seen’.

Harold then lived at the Edinburgh home of his cousin William Beeley, who became his manager. William is listed in various records as working for the Post Office in both Edinburgh and Stockport. The exhibiting of short-statured people and midgets had been popularised by P.T. Barnum with the famous Tom Thumb (Charles Stratton). Barnum’s novelty act arrived in England in 1844 and Stratton became one the most highly paid and famous performers of the Victorian era. Many similar acts followed, including ‘Major Mite’, ‘Anita the Living Doll’ and of course Harold Pyott, who was billed as the ‘world’s smallest man’ and variously known as ‘Tiny Tim’, the ‘The English Midget’, the ‘English Tom Thumb’, or the ‘Living Doll’.

Harold travelled to various pantomimes and circus sideshows around Britain, Europe and South Africa for 35 years, and he performed before royalty on several occasions. Part of his act involved being carried around on the palm of a man’s hand and sitting in a top hat.’