Ripper Anatomy Class

[protohistorian]

However you choose ma'am this is awesome! Dave

[Errata]

Annie Chapman

Long black figured coat that came down to her knees

*Unsure. Most likely a style of coat that closely resembles a dress with a tailored fit. Front or side buttons. Material unknown. Areas of greatest strength: Unsure. Waistband and front chest seem likely. Shoulder sleeve seams.

Black skirt

* Most common style at this time for this class is a skirt attached to a buttoned waistband. Gathering annd pleating is common. Side seams likely, gusset possible in back. Other possible construction (though less likely) is a drawstring skirt (think open ended pillowcase with a drawstring at one end). Material unknown. Areas of greatest strength: Waistband especially if the skirt was gathered or pleated. Lengthwise seams could really be anywhere, but would not account for significant resistance

Brown bodice

* Bodice pattern vary greatly, but certain things are more prevalent and more likely. A bodice is essentially a shirt. Sleeve and neck patterns vary a great deal, but for this purpose are irrelevant. Likely front closing, with hooks or buttons. Lacing possible but not probable. Likely high necked, with side seams and darts running from breast to waist. Likely tailored at waist, Likely ends at hip (and inch or two above pubis). Material unknown. Areas of greatest strength: front where fastenings would be. Neck seam if high necked. Shoulder seams.

Another bodice

*Same as above, however as color was not specified it is likely a light color fabric soaked through with blood. Of likely materials for bodice, cotton is the most likely as it was the cheapest and easiest to dye a light color. Wool unlikely given that it typically requires bleaching in order to dye a light color, and has odd hydrophobic like qualities.

2 petticoats

* Pant type underwear, worn to give volume to the bottom half of the body. Also for warmth. Probably knee length. Some petticoats were highly ruffled, likely not these. Areas of strength: Waistband, crotch seam.

A large pocket worn under the skirt and tied about the waist with strings (empty when found)

* likely a spare piece of cloth or canvas sewn into a large pouch. If canvas, can be very strong. strings might prove the weaker point in that case.

Lace up boots

Red and white striped woolen stockings

* Unusual given the futility of trying to keep thing whites in poverty. And festive.

Neckerchief, white with a wide red border (folded tri-corner and knotted at the front of her neck. she is wearing the scarf in this manner when she leaves Crossingham's)

* Again, white is unusual. Neckerchiefs were worn for generally four reasons. 1: as an accessory 2: for warmth 3: as a sort of modesty panel for a lower cut shirt 4: as a handkerchief. 3 seems unlikely. Worn for warmth, it would likely be double knotted. Worn as an accessory or a handkerchief, likely single knotted.

From the waist up she would be wearing 3-6 layers of cloth, one of which would be might be heavy cloth. Possibly up to three layer of buttons. From the waist down, not counting stockings or boots she would be wearing 4-6 layers of cloth, Fabric unknown. Areas of greatest difficulty to cut: The waist, the chest (from about an inch or two above the navel to the throat) and possibly the pelvis, depending on the location and material of the pocket.

[Jane Coram]

Hi,

Thanks for the information on stress points Errata -- very useful. It's interesting that because clothing needed to last so long back then, and be mended frequently, they tended to use a lot more double and strengthened seams to make sure that lasted longer. They would have taken a lot more getting through than most garments these days that are mass produced in the Far East!

Just a note on the stays to add to Errata's excellent description of them -- the whole point of stays was to keep the figure constrained to a greater or lesser extent, and they all have ribs of some kind running lengthwise down them, some thick cord as Errata said, and sometimes whale bone or strips of thin metal, like the sort you get in underwired bras these days.

Whichever, those ribs would have been obstacles to the knife blade, and although it's only speculation, I think that the small cuts across and up Polly's body might well have been caused as her killer tried to make a long cut, but kept hitting the ribs of the stays and couldn't get past them, so tried a different angle, hence the number of small cuts running up and across her abdomen, until he finally managed to get passed them and was able to make a long cut.

And there is something that's really bugging me -- could someone clear this up for me? It says here on Casebook that Polly was wearing flannel drawers and suggests it was from Spratling's report, but I've read his report through - in fact I've read all of the police reports through and I can't find anywhere where it says that Polly was wearing drawers.

I'd always believed that she wasn't wearing any. Does anyone know where this information came from? It's obviously very important in terms of her murder, because if she was wearing drawers it does make a lot of difference how the wounds were inflicted. I just haven't been able to find any reference to them. I've obviously missed something somewhere. Logically, I think it seems unlikely that she was wearing drawers if she was out and about looking for customers -- for obvious reasons, even if they were the crotchless kind that were the usual in those days. After a few hours even that kind would be in rather a sorry state.

I'm looking forward to seeing Errata's information on the rest of the victims.
Good stuff.

Hugs

Janie

xxxxx

[Errata]

Just some odd notes on fabric in general.

Like wood it is much easier to cut "with the grain" which would be the warp of the fabric (vertically). The woof or weft of the fabric can be significantly more difficult, but not as a rule (horizontally).

n sewing, as long as one is not trying to match patterns, the areas of greatest strain (like say, on either sides of the buttons, or across the abdomen) are positioned along the woof, horizontally.

Flannel is a peculiar fabric, as it is very loosely woven fabric, but felted to to a higher density. Which essentially means the fibers are just holding hands. It is equally likely that seams in a flannel garment part, or the fabric itself parts.

Wool, flannel and silk are the very devil to cut with scissors, especially when loose. However only silk is resistant to puncture. The the point that it was possible for a man shot wearing a silk shirt to pull the fabric taut and pop the bullet out.

The looser the weave, the better the ravel (unraveling). The better the ravel the more jagged the cut.

Flannel can be torn with the hands.

back to the victims.

[protohistorian]

You rock Errata, keep it coming! Dave

[Errata]

Liz Stride

Long black cloth jacket, fur trimmed around the bottom with a red rose and white maiden hair fern pinned to it. (She was not wearing the flowers when she left the lodging house.)

*Unusual for fur trim to only be at the hem. Typically also at collar and sleeves. If secondhand, may have been removed for being in poor condition. Rose may or may not be significant, depending on the date of the first frost. Pattern unknown. Most likely a style of coat that closely resembles a dress with a tailored fit. Front or side buttons. Material unknown, not wool. Areas of greatest strength: Unsure. Waistband and front chest seem likely. Shoulder sleeve seams. Fur trimmed areas.

Black skirt

*Most common style at this time for this class is a skirt attached to a buttoned waistband. Gathering and pleating is common. Side seams likely, gusset possible in back. Other possible construction (though less likely) is a drawstring skirt (think open ended pillowcase with a drawstring at one end). Material unknown. Areas of greatest strength: Waistband especially if the skirt was gathered or pleated. Lengthwise seams could really be anywhere, but would not account for significant resistance

Black crepe bonnet

*Likely hard crepe, silk or wool. Think smooth ribbon. May have been tied, or attached with a hairpin.

Checked neck scarf knotted on left side

*Neckerchiefs were worn for generally four reasons. 1: as an accessory 2: for warmth 3: as a sort of modesty panel for a lower cut shirt 4: as a handkerchief. 3 seems unlikely. Worn for warmth, it would likely be double knotted. Worn as an accessory or a handkerchief, likely single knotted.

Dark brown velveteen bodice

*Bodice pattern vary greatly, but certain things are more prevalent and more likely. A bodice is essentially a shirt. Sleeve and neck patterns vary a great deal, but for this purpose are irrelevant. Likely front closing, with hooks or buttons. Lacing possible but not probable. Likely high necked, with side seams and darts running from breast to waist. Likely tailored at waist, Likely ends at hip (and inch or two above pubis). True velvet is silk. Velveteen is the same weave and preparation, only in cotton. Not terribly sturdy. Areas of greatest strength: front where fastenings would be. Neck seam if high necked. Shoulder seams.

2 light serge petticoats

Pant type underwear, worn to give volume to the bottom half of the body. Also for warmth. Probably knee length. Some petticoats were highly ruffled, likely not these. Serge is a version of twill, and is cotton. Essentially light blue jean material. Very sturdy. Areas of strength: Waistband, crotch seam.

1 white chemise

*An undergarment, typically long sleeved. Short chemises come to about the knee, long chemises about to the ankle. Typically lightweight, light cotton is a good guess. Often used as a nightgown. Very simple design with neck and shoulder seams, side seams, and cuff and bottom hems.

White stockings

Spring sided boots

All told, from the waist up she would be wearing 3-5 layers of cloth, one of which would be considered medium to heavy cloth. Possibly two layers would be heavy cloth. From the waist down, not counting stockings or boots she would be wearing 4-6 layers of cloth, two of which while not heavy, are very tough fabrics. Possibly two other layers of heavy cloth. Areas of greatest difficulty to cut: The waist, the chest (from about an inch or two above the navel to the throat), the hip and pelvis area.

[Errata]

Oh I forgot.

Victorian woman's uniform:
corset or stays
dress or bodice and skirt
petticoats
drawers
chemise
hat
stockings

The absence of any of these is unusual. Even amongst the very poor. Well, not drawers so much in the victim's cases, as they would be a hindrance to business. But the rest were considered necessities, like bra and panties today. While a lack of a hat for example is not a sign of something fishy necessarily, it does indicate a state of mind not in keeping with ordinary Victorian women.

[Errata]

Catherine Eddowes

Black straw bonnet trimmed in green and black velvet with black beads. Black strings, worn tied to the head.

* Straw bonnets were summer clothing. The velvet and beads make it finer than one would ordinarily see in the lower class.

Black cloth jacket trimmed around the collar and cuffs with imitation fur and around the pockets in black silk braid and fur. Large metal buttons.

*Pattern unknown. Most likely a style of coat that closely resembles a dress with a tailored fit. Front or side buttons. Material unknown, not wool. Pockets were likely sewn to the front rather than the evelope style pockets in blue jeans. Probably one on either side and a little lower than the navel. Areas of greatest strength: Unsure. Waistband and front chest seem likely. Shoulder sleeve seams. Fur trimmed areas.

Dark green chintz skirt, 3 flounces, brown button on waistband. The skirt is patterned with Michaelmas daisies and golden lilies.

* Chintz is patterned calico, a simple cotton weave. A flounce is a wide ruffle. Given the fabric is patterned, it seems likely that the flounces were on the bottom of the skirt. Areas of greatest strength: waistband.

Man's white vest, matching buttons down front.

*Given the lack of either corset or stays, It is possible that the victim was using a cut down man's vest as an undergarment. If not, I guess she was just wearing a man's vest. Fabric unknown. Areas of greatest strength: Unaltered, none. Altered, side seams.

Brown linsey bodice, black velvet collar with brown buttons down front

*Bodice patterns vary greatly, but certain things are more prevalent and more likely. A bodice is essentially a shirt. Sleeve and neck patterns vary a great deal, but for this purpose are irrelevant. Likely front closing, with hooks or buttons. Lacing possible but not probable. Likely high necked, with side seams and darts running from breast to waist. Likely tailored at waist, Likely ends at hip (and inch or two above pubis). Linsey is either linen, or a linen wool blend. Velvet is a silk plush cloth. Durable, but does not wear well. Very sturdy. Unusual for a woman of the lower class. Areas of greatest strength: front where fastenings would be. Neck seam if high necked. Shoulder seams. Collar.

Grey stuff petticoat with white waistband

*Pant type underwear, worns to give volume to the bottom half of the body. Also for warmth. Probably knee length. Some petticoats were highly ruffled, likely not these. Stuff is a coarse wool. Areas of strength: Waistband, crotch seam.

Very old green alpaca skirt (worn as undergarment)

*Most common style at this time for this class is a skirt attached to a buttoned waistband. Gathering and pleating is common. Side seams likely, gusset possible in back. Other possible construction (though less likely) is a drawstring skirt (think open ended pillowcase with a drawstring at one end). Alpaca is a South American relative of the camel. Has very soft very dense very fine wool. Very rare in a woman of the lower class, even as a cast off. Areas of greatest strength: Waistband especially if the skirt was gathered or pleated. Lengthwise seams could really be anywhere, but would not account for significant resistance

Very old ragged blue skirt with red flounces, light twill lining (worn as undergarment)

*Same style as above. Flounces are wide ruffles, probably at the bottom of the skirt. Fabric unknown. Twill is a cotton weave, ofthen herringboned. Essentially light blue jean material. Very sturdy. Areas of greatest strength: Possible waistband, but likely none given the condition.

White calico chemise

*An undergarment, typically long sleeved. Short chemises come to about the knee, long chemises about to the ankle. Often used as a nightgown. Very simple design with neck and shoulder seams, side seams, and cuff and bottom hems. Calico is a cotton weave. Areas of greatest strength: none

No drawers or stays

*Lack of drawers probably for professional.. access. Lack of stays unusual, white vest may be a substitute.

Pair of men's lace up boots, mohair laces. Right boot repaired with red thread

1 piece of red gauze silk worn as a neckerchief

*Neckerchiefs were worn for generally four reasons. 1: as an accessory 2: for warmth 3: as a sort of modesty panel for a lower cut shirt 4: as a handkerchief. 3 seems unlikely. Worn for warmth, it would likely be double knotted. Silk is rare for a woman of the lower class. Worn as an accessory or a handkerchief, likely single knotted.

2 unbleached calico pockets, tape strings

* likely a spare piece of cloth sewn into a pouch. Calico is a cotton weave. Tape is essentially a coarse cooton ribbon folded in half for seam reinforcement. Areas of greatest strength: the knot in the strings.

1 blue stripe bed ticking pocket

*likely a spare piece of cloth sewn into a pouch. Bed ticking is a very tightly woven cotton or cotton linen blend. Very sturdy. Areas of greatest strength: Ticking is very tough fabric, so all of it.

Brown ribbed knee stockings, darned at the feet with white cotton

From the waist up she would be wearing 4-7 layers of cloth, one of which would be might be heavy cloth. Three layer of buttons. From the waist down, not counting stockings or boots she would be wearing 5-11 layers of cloth, Up to four might be heavy cloth. Areas of greatest difficulty to cut: Anything above the knees really. Fur trimmed pockets on the jacket would be incredibly tough. Stuff, twill and velvet are all very sturdy fabrics. Possibly five waistbands stacked on each other, three sets of buttons stacked on each other. Bed ticking was quite possibly the closest equivalent to kevlar, and it is roaming around somewhere in her skirts. She also was carrying a great deal of small things on her. Even the silk neckerchief is extremely difficult to cut through.

In my opinion, the jaggedness of her wounds may very well be due to the hidden layers of buttons. She was also dressed in much finer materials than the other victims.

[Errata]

Mary Kelly

Chemise

*An undergarment, typically long sleeved. Short chemises come to about the knee, long chemises about to the ankle. Typically lightweight, light cotton is a good guess. Often used as a nightgown. Very simple design with neck and shoulder seams, side seams, and cuff and bottom hems.

That one was easy.

[protohistorian]

I feel less stoopid already. Dave

[protohistorian]

M4 and 5 cross sectional wound comparison

M4 neck wound was generated compositing the images on the victims page.

M5 described by Dr. Bond, " The neck was cut through the skin and other tissues right down to the vertebrae, the fifth and sixth being deeply notched. The skin cuts in the front of the neck showed distinct ecchymosis. The air passage was cut at the lower part of the larynx through the cricoid cartilage." I have taken this as complete severance of all tissue outside the perimeter on vertebral prominences. Dave

[protohistorian]

cross sectional comparison M1,2,3

M1 described by Dr. Llewellyn
wound 1 "On the left side of the neck, about an inch below the jaw, there was an incision about four inches long and running from a point immediately below the ear."
wound 2 "An inch below on the same side, and commencing about an inch in front of it, was a circular incision terminating at a point about three inches below the right jaw. This incision completely severs all the tissues down to the vertebrae. The large vessels of the neck on both sides were severed. The incision is about eight inches long."

M2 described by Dr. Phillips, "The throat had been severed. The incisions of the skin indicated that they had been made from the left side of the neck on a line with the angle of the jaw, carried entirely round and again in front of the neck, and ending at a point about midway between the jaw and the sternum or breast bone on the right hand."

M3 described By Dr. Blackwell," The incision in the neck commenced on the left side, 2 inches below the angle of the jaw, and almost in a direct line with it, nearly severing the vessels on that side, cutting the windpipe completely in two, and terminating on the opposite side 1 inch below the angle of the right jaw, but without severing the vessels on that side."

[Investigator]

Vagus bisection

Hello all,
noticed a query on vagus bisection, due to time constraints I’m not always able to respond to individual discussion so sorry if this is a late in your debate.
The physiologist, Gaskell in 1883 determined that the rhythmic contractibility of the heart was a property of the cardiac muscle and the nervous system had a secondary function to control rate regularity. It’s quite amazing what these early physiologists were able to do – no wonder Frankenstein was a big hit.
The vagi exercises a limiting restraint on the rate at which the heart contracts. The right vagus mainly supplies the S.A node and the left vagus, the A.V. node. Both these nodes relay fibres to the atria, the bundle of His and the ventricles. Impairment in the conductivity between these structures can produce a severe effect on heart function. Stimulating the left or right vagi show different responses;

“…excessive stimulation of the left vagus caused blocking of the conduction of impulses to the atrioventricular node resulting in a sudden fall in B.P. and syncope. Stimulation of the right vagus caused a fall in B.P. by blocking the transmission of impulses to the sinoauricular node that slowed the heart rate but did not produce syncope.” (Wright, 1956)

In practice in making a vagotomy, I found that there was less risk by severing the right vagus before the left because the heart was not unduly affected and continued to function. The left bisection in an animal on a respirator can sometimes not recover heart beat - maybe I overstimulated it while tring to find it in such a small animal as a rat.

Sequential events (1) Vagal stimulation by bisection (2) left vagus block with rapid fall in blood pressure (3) vagal escape in 5 - 10 seconds, heart takes over pace making (4) inefficient right ventricular contraction (5) reduced oxygenation of blood (6) inadequate blood flow in coronaries (7) anoxic heart
With ventricular standstill and collapse in blood pressure, the blood supply to the brain and the coronary vessels of the heart ceases. Within a few seconds, consciousness would be lost and compensatory mechanisms arise to increase blood flow (tachycardia). As the heart muscle escapes from vagal control, the ventricles may begin to beat again at their own independent rate but with a diminished performance.

The figure demonstrates (doesn't insert????) that severance or stimulation of the vagi nerves can (a) slow the whole heart, (b) produce varying degrees of heart block or arrest the ventricles altogether, (c) diminish the force of chamber contraction, (d) shortens the duration of systole. The output of the heart is greatly reduced and blood pressure falls rapidly almost to zero pressure. Blood accumulates on the venous side of the circulation – the right atria and great veins causing an increase in venous pressure.

It is possible that the precipitous collapse of Stride could have been the result of left vagus bisection. The PM doesn’t provide such detail. Note too, that the pulmonary artery did not contain the frothy blood expected if air embolism had occurred – meaning that venous pressure may well have been increased. DG

[protohistorian]

Thanks Investigator. That was a big help for me! Dave

[FrankO]

The figure demonstrates (doesn't insert????) that severance or stimulation of the vagi nerves can (a) slow the whole heart, (b) produce varying degrees of heart block or arrest the ventricles altogether, (c) diminish the force of chamber contraction, (d) shortens the duration of systole. The output of the heart is greatly reduced and blood pressure falls rapidly almost to zero pressure. Blood accumulates on the venous side of the circulation – the right atria and great veins causing an increase in venous pressure.

Hi Investigator,

Even though I didn’t understand all the details, thanks for sharing your knowledge about the vagus nerves. As I’m unable to distil this from your post, perhaps you could answer the following: would the severance of the left vagus (together with the left carotid artery) prevent any major spurting of blood?

Because if so, that would explain why no evidence of major spurting of blood was found in the cases of Nichols, Chapman, Stride and Eddowes.

Thanks and I look forward to your reply.
Frank