The Indents in the GSG

[Darryl Kenyon]

I am no architect, so I am not sure one way or the other but this is from Wikipedia - In architecture, the dado is the lower part of a wall,^[1] below the dado rail and above the skirting board. The word is borrowed from Italian meaning "die" (as an architectural term) or plinth.
Regards Darryl

[DJA]

Lord Font Le Roy.

[Abby Normal]

That might simply be a byproduct of my limited choice of font

yeah I don't think good schoolboy hand is a choice of font lol

[Sam Flynn]

Isn’t the dado the entire lower part of an interior wall? The bit that separates the upper and lower parts is a dado rail.

It can be either, it seems:



I've only ever heard "dado" used in the "dado rail" sense, but that might just be me.

[MrBarnett]

Isn’t the dado the entire lower part of an interior wall? The bit that separates the upper and lower parts is a dado rail.

[Sam Flynn]

Your example with the writing seems almost like signage.

That might simply be a byproduct of my limited choice of font

[Michael W Richards]

According to Halse, it was on a black dado. He specifically says "dado", which would be odd if it weren't indeed a dado; namely, a comparatively narrow, decorative strip part-way up a wall, dividing the lower section from the upper.



So, rather than a whole wall, perhaps the writer had less (vertical) room to work with, using the black dado to get better contrast with the white chalk. Taking Halse's "three lines" and applying the idea that the copy in the Home Office memo was "word-wrapped", we could be looking at something like this:

Very good visual Sam, Im interested that the height of the black space created by the tile would essentially define how many lines it would likely have been. I also get an impression, considering it was above the apron, that the 2 must have been intentionally married...apron and grafitto... by one man responsible for both, or 2 men, and the last man just accentuating what was already there, with either the chalk wring or the apron. When considering the available time lapse from murder until apron discovery, using Longs statement, I lean towards 1 man...who came back out prepared with chalk.

Your example with the writing seems almost like signage.

[Sam Flynn]

even according to the 5 line version in the memo which doesn't make sense when you have a large wall to work with.

According to Halse, it was on a black dado. He specifically says "dado", which would be odd if it weren't indeed a dado; namely, a comparatively narrow, decorative strip part-way up a wall, dividing the lower section from the upper.



So, rather than a whole wall, perhaps the writer had less (vertical) room to work with, using the black dado to get better contrast with the white chalk. Taking Halse's "three lines" and applying the idea that the copy in the Home Office memo was "word-wrapped", we could be looking at something like this:

[Sam Flynn]

The tacking on of the end of a line to the right hand side, instead of returning back to the left margin, doesn't really exist as a "convention". I can't find anything about it.

It definitely happens, and I've frequently used it myself. It shows that the overspill belongs to the line above rather than its being the start of a new line.

[DJA]

Then you will have to wait in line for the movie.
No more spoilers for you Dr Shoe

[Al Bundy's Eyes]

It's really not obvious.

[Trapperologist]

Charles Warren was there himself and he said the GSG was on the door jamb meaning of course the post and could be seen by passers by.

Obviously at night on a London Street in 1888, it would be almost invisible as it was a 3/4 inch high, parallel and hardly wider than the mortar. It would barely be readable or even noticeable in the daytime, even if it was white on black being so finely written with something like tailor chalk

There's no wiggle room here. I don't know if the misinformation came from the dramatizations, the movies or people assume Warren was lying or what. Obviously you'd make it big and bold for a dramatic representation. It's just not the reality according to Warren, and even according to the 5 line version in the memo which doesn't make sense when you have a large wall to work with.

The Juwes are the
men that will not be
blamed for nothing

The most even spacing example does allow for the shortest lines with 18 characters and spaces to be almost manageable on the full width of the post. The second line would need to be broken but the author broke two lines.

[DJA]

She told him at his Mitre Street address before he strangled her and took her out the back.

Reckon Eddowes was supposed to be with Stride and a Royal Engineers sapper by the name of Carter (BS man) for a blackmail pay off.

The rest should be obvious.

[Scott Nelson]

GSG seems to be a clue linking the last three of the C5.

The Juwes being both the police (Old Jewry) and the club at Berner Street,"nothing" and the apron piece being Eddowes and the topic of the 1888 lectures foretelling Mary Ann Kelly's demise.

But how would the writer of the GSG know that Eddowes replied "nothing" only a few hours earlier at the police station (unless the writer was present)?

[Curious Cat]

I think it's more like this with the small letters the right size, and the memo has the Will not and for nothing further over. A header has plenty of room for a 2 or 3 letter word. So I don't think the one header and one spreader and vice versa explains it. But almost.

Detective Daniel Halse said there were three lines of writing, but that he copied it in writing before it was rubbed out, so if he was using a standard note book he would've been forced to space the words differently. The most even spacing would this...

The Juwes are the
men that will not be
blamed for nothing

The spacing between the words would be the down to the person's natural handwriting style, either Halse's or whoever copied his notes.


PC Long says the apron piece was inside the passage way rather than in the doorway. He also says the graffiti was above the apron piece, but that he only saw it after first looking for signs of blood within the passageway. Had the graffiti been in on the edge of the doorway it would've been seen in conjunction with the apron below it rather than after a scan around for blood. That suggests the graffiti was not immediately obvious on initial entry into the passageway so was more likely to have been around the corner of the doorway facing the stairwell. This would make it visible to those coming down the stairs and going out of the building. Neither Long or Halse give the exact location of the graffiti, however if we have the apron piece within the passageway and beyond the threshold of the doorway so it's still visible from the street that would put it on the floor by the inside corner of the doorway wall. This allows the graffiti to be above it without being noticed at first glance.

If the graffiti was put there along with the apron piece then it suggests one of two things. Either it was intended for a resident of the dwellings to find the apron piece and be goaded by the graffiti in a general act of anti-Semitism by the killer or someone at the dwelling was a specific target and it was a warning to them made by the killer.

If the graffiti happened to already be there (the killer may not have even seen it) then the apron piece being disposed there is either a random public space for it to intentionally be found at some point - like the victim - or the location was specifically chosen for the apron piece to be found at some point. Either way, it seems it was placed rather than dropped.