Murder in the tiniest degree

Heiress Frances Glessner Lee (above, in an undated photograph) began working on her dioramas in the early 1940s, when she was in her 60s. The Three-Room Dwelling miniature crime scene (left) is the largest and most complex work at the exhibition. Fra
The Three-Room Dwelling miniature crime scene (above) is the largest and most complex work at the exhibition.PHOTO: NEW YORK TIMES
Heiress Frances Glessner Lee (above, in an undated photograph) began working on her dioramas in the early 1940s, when she was in her 60s. The Three-Room Dwelling miniature crime scene (left) is the largest and most complex work at the exhibition. Fra
Frances Glessner Lee’s other miniature crime scenes included the Kitchen (above) and Living Room.PHOTO: NEW YORK TIMES
Heiress Frances Glessner Lee (above, in an undated photograph) began working on her dioramas in the early 1940s, when she was in her 60s. The Three-Room Dwelling miniature crime scene (left) is the largest and most complex work at the exhibition. Fra
Frances Glessner Lee’s other miniature crime scenes included the Kitchen and Living Room (above).PHOTO: NEW YORK TIMES
Heiress Frances Glessner Lee (above, in an undated photograph) began working on her dioramas in the early 1940s, when she was in her 60s. The Three-Room Dwelling miniature crime scene (left) is the largest and most complex work at the exhibition. Fra
Heiress Frances Glessner Lee (above, in an undated photograph) began working on her dioramas in the early 1940s, when she was in her 60s.PHOTO: NEW YORK TIMES
Published
15 min ago

Dioramas of crime scenes created by Frances Glessner Lee, often used as training tools for police investigators, are now on show