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The word diorama can either refer to a nineteenth century mobile theatre device, or, in modern usage, a three-dimensional full-size or miniature model, sometimes enclosed in a glass showcase for a museum. The word "diorama" originated in 1823 as a type of picture-viewing device, from the French in 1822. The current, popular understanding of the term "diorama" denotes a partially three-dimensional, full-size replica or scale model of a landscape typically showing historical events, nature scenes or cityscapes, for purposes of education or entertainment. Miniature dioramas are typically much smaller, and use scale models and landscaping to create historical or fictional scenes. Carl Akeley, a naturalist, sculptor, and taxidermist, is credited with creating the first ever habitat diorama in the year 1889.
Landscapes built around model railways can also be considered dioramas, even though they often have to compromise scale accuracy for better operating characteristics.
Hobbyists also build dioramas of historical or quasi-historical events using a variety of materials, including plastic models of military vehicles, ships or other equipment, along with scale figures and landscaping.
In the 19th and beginning 20th century, building dioramas of sailing ships had been a popular handcraft of seamen. One of the largest Dioramas ever created[citation needed] was a model of the entire state of California built for the Panama-Pacific International Exposition of 1915 and that for a long time was installed in San Francisco's Ferry Building. The inventor and proprietor of the Diorama was Louis Jacques Mande Daguerre (1787–1851), formerly a decorator, manufacturer of mirrors, painter of Panoramas, and masterly designer and painter of theatrical stage illusions. Daguerre opened a second Diorama in Regent's Park in London in 1823, a year after the debut of his Paris original. Until 1968 Britain boasted a large collection of dioramas, these collections were originally housed in the Royal United Services Institute Museum, (formerly the Banqueting House), in Whitehall. Krunert, Schirmer, Frank, Frauendorf, Maier, Franz Rieche and Oesterrich were also involved in the manufacture and design of figures for the various dioramas.
Denny Stokes painted all the backgrounds of all the dioramas, Herbert Norris, the Historical Costume Designer, whom Dr.
The state of these dioramas is one of debate; John Garratt (The World of Model Soldiers) claimed in 1968, that the dioramas “appear to have been partially broken up and individual figures have been sold to collectors”. This ‘Scotland after the '45 rebellion,’ is the only one of his depicted dioramas, which can be seen, during the filming of this Pathe documentary, as being finished in January 1957.
Two dioramas depict the scaling of the Heights of Abraham at Quebec by General Wolfe and the East Yorkshires in 1759, and of the D-day landing at Colleville-Sur-Orne, which were both, commissioned for, and can be seen at, the "East Yorkshire Regiment Museum". Painters of the Romantic era like John Martin and Francis Danby were influenced to create large and highly dramatic pictures by the sensational dioramas and panoramas of their day. Nonetheless, dioramas remained popular in England, Scotland, and Ireland through most of the nineteenth century, lasting until 1880.
A small scale version of the diorama called the Polyrama Panoptique could display images in the home. Diorama — Saltar a navegacion, busqueda Para el album de la banda australiana Silverchair, vease Diorama (album).
Diorama — (griech., »Durchscheinbild«), malerische Schaustellung, bei der die nach den Tageszeiten wechselnde Beleuchtung durch kunstliche Lichteffekte nachgeahmt und das ganze wohl auch durch erscheinende und verschwindende Staffage belebt wird.


Dioramas are often built by hobbyists as part of related hobbies such as military vehicle modeling, miniature figure modeling, or aircraft modeling.
The word literally means "through that which is seen", from the Greek di- "through" + orama "that which is seen, a sight." The diorama was invented by Louis-Jacques-Mande Daguerre and De Dion-Bouton, first exhibited in London September 29, 1823. Such a scale-model based diorama is used, for example, in Chicago's Museum of Science and Industry to display railroading.
Typically, these displays use a tilted plane to represent what would otherwise be a level surface, incorporate a painted background of distant objects, and often employ false perspective, carefully modifying the scale of objects placed on the plane to reinforce the illusion through depth perception in which objects of identical real-world size placed farther from the observer appear smaller than those closer. Akeley's diorama featured taxidermied beavers in a three-dimensional habitat with a realistic, painted background. A typical example of this type are the dioramas to be seen at Norway's Resistance Museum in Oslo, Norway.
Building a diorama instead of a normal model had the advantage that the model was protected inside the frame and it could easily be stowed below the bunk or behind the sea chest. An alternative to the also popular "Panorama" (panoramic painting), the Diorama was a theatrical experience viewed by an audience in a highly specialized theatre.
Daguerre would later co-invent the daguerreotype, the first widely used method of photography. The building which exhibited the diarama, was designed by Augustus Charles Pugin, father of the notable English architect and designer Augustus Welby Northmore Pugin. However, when the museum closed the various exhibits, and their 15 known dioramas, were distributed to smaller museums throughout England, some ending up in Canada, and elsewhere. Krunert (a Viennese), like Gottstein an exile in London, was given the job of engraving for ‘The Battle of Quebec’. According to the Glenbow Institute (Barry Agnew, Curator) “the figures are still in reasonable condition, but the plaster groundwork has suffered considerable deterioration”.
This diorama was never commissioned for a museum, but was designed and created for his personal collection, and remained in his possession as such, until his death in 1989. Another diorama represents a fur trading station in Canada, with a canoe in a river, wigwams, log cabins, and background mountains. My father is  now retired, according to my mother spends way to much time building German military models and dioramas. Often the distant painted background or sky will be painted upon a continuous curved surface so that the viewer is not distracted by corners, seams, or edges. As many as 350 patrons would file in to view a landscape painting that would change its appearance both subtly and dramatically. A series of these multi-layered, linen panels were arranged in a deep, truncated tunnel, then illuminated by sunlight re-directed via skylights, screens, shutters, and colored blinds. These dioramas were the brainchild of the wealthy furrier Otto Gottstein (1892–1951) of Leipzig, a Jewish immigrant from Hitler’s Germany, who was an avid collector and designer of flat model figures called flats. Lovel-Barnes introduced to Gottstein, was responsible for the costume design of the Ancient Britons, the Normans and Saxons, some of the figures of ‘The Field of the Cloth of Gold’ and the Elizabethan figures for ‘Queen Elizabeth at Tilbury’. Another depicts a hunting scene of Luis the 14th, showing people on horses, and a deer in the woods, the whereabouts of both these are unknown.


On 1 February 1829, John Martin's brother Jonathan, known as "Mad Martin," set fire to the roof of York Minster. All of these techniques are means of presenting a realistic view of a large scene in a compact space. Chapman, Akeley designed the popular habitat dioramas featured at the American Museum of Natural History. Depending on the direction and intensity of the skillfully manipulated light, the scene would appear to change. English artists like Clarkson Stanfield and David Roberts produced ever-more elaborate dioramas through the 1830s; sound effects and even living performers were added.
In 1930, Gottstein’s influence is first seen at the Leipzig International Exhibition, along with the diaramas of Hahnemann of Kiel, Biebel of Berlin and Muller of Erfurt, all displaying their own figures, and those commissioned from such as Ludwig Frank in large diorama form. Clarkson Stanfield created a diorama re-enactment of the event, which premiered on 20 April of the same year; it employed a "safe fire" via chemical reaction as a special effect. A photograph or single-eye view of such a diorama can be especially convincing since in this case there is no distraction by the binocular perception of depth. The show lasted 10 to 15 minutes, after which time the entire audience (on a massive turntable) would rotate to view a second painting. The effect was so subtle and finely rendered that both critics and the public were astounded, believing they were looking at a natural scene. Douchkine was responsible for painting two figures of the Duke of Marlborough on horseback for ‘The Blenheim Diorama’, one of which was used, the other, Gottstein being the true collector, was never released. He uses all sorts of materials to depict the events from military history in greatest detail possible. Gottstein persuaded designer and painter friends in both Germany and France to help in the construction of dioramas depicting notable events in English history. Lovel-Barnes was himself responsible for the ‘Battle of Blenheim’ diorama, selecting the figures, and arrangement of the scene. Due to World War II, when flat figures became unavailable, Gottstein completed his ideas by using Greenwood and Ball’s 20mm figures. The task of turning Gottstein’s ideas into reality fell to his English friends and those friends who had managed to escape from the Continent. In time a fifteenth diorama was added, using these 20mm figures, this diorama representing the ‘D-Day landings’. When all the dioramas were completed, they were displayed along one wall in the Royal United Services Institute Museum. Stokes, a talented painter and diorama maker in his own right, was responsible for the painting of the backgrounds of all the dioramas, creating a unity seen throughout the whole series. When the museum was closed the fifteen dioramas were distributed to various museums and institutions.



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