The Bison and Pronghorn Group, measuring 27' by 16', is one of the largest dioramas in the Hall of North American Mammals, which opened to the public on April 9, 1942. Collecting for the diorama began in August 1937, when James L. Clark, then Director of Arts, Preparation, and Installation at the Museum, led an expedition through Wyoming, Montana, and North Dakota to gather specimens and make studies of possible background landscapes. Most of the bison used in the completed diorama were taken from the National Bison Range in western Montana during a later expedition. The National Bison Range wildlife refuge was established in 1908 during the presidency of Theodore Roosevelt, and can trace its stock back to a small group of bison calves rescued by the Pend d'Oreille Indian Walking Coyote.

	AUDIO: History of the Diorama In this clip, Steve Quinn explains the history of the diorama, how it became such a popular exhibition technique, and why it is important today. You will need to have the Real Player installed on your computer to hear this audio file. PLAY > (Transcript)

Taxidermy
Many of the animal specimens exhibited in the Hall of North American Mammals were mounted using taxidermy techniques developed by Carl Ethan Akeley. Akeley, made famous as an inventor, sculptor, and explorer, is perhaps best remembered for his contributions to the field of modern taxidermy. At the turn of the 20th century, taxidermy was still at best an imprecise science: skins were often mounted on crude structures that didn't resemble the individual animal or were stuffed with organic materials such as straw to assume unrealistic poses. Even worse, due to imperfect hide processing techniques, many finished pieces soon began to show signs of wear and tear that made them unsuitable for exhibition.

	GALLERY Mounting a Horse

Akeley's basic method of taxidermy, which he continued to refine over the course of his career, began with the construction of a wire and wood armature that often incorporated parts of the skeleton of the actual animal. Using measurements and sometimes molds of the specimen taken in the field, the next step was to construct a clay sculpture, to scale, of the animal over the armature. This sculpture could be made to accurately reflect specific aspects of the particular animal including its veins and musculature, and also to portray it in a life-like pose. A plaster mold was then made from the clay sculpture and subsequently a hollow papier mâché cast taken from the mold. The finished manikin cast produced from this process was both lightweight and durable. Finally, the prepared animal skin was attached to the manikin and other details such as the eyes, lips and nostrils could be completed during the finishing process.

	CLASSIC ARTICLE: Akeley as a Taxidermist This article by former Museum director Frederic A. Lucas profiles Carl Akeley and his contributions to the fields of taxidermy and museum display. Published shortly after Akeley's death in November 1926, the article is reprinted here from Natural History magazine, March/April 1927.  Read Article >