Before exploring the reasons for disproving Cornwell’s findings, one must have an understanding of the case in question. Between the months of August and November, 1888, the Whitechapel area of East London played witness to a series of horrific murders committed by an unknown assailant known only by his trade name, Jack the Ripper. “The mysterious culprit struck only at night, and when all was said and done, J

Moving away from the theories behind the Ripper letters, one of Cornwell’s key points lies in the artwork of Walter Sickert; and to her credit, these findings are actually compelling. According to her book, Cornwell suggests that if he was the Whitechapel murderer, he “inserted clues and symbols about the case into his drawings and paintings. Some of these clues are so similar to the actual crime scenes that only the true murderer could have painted them” (106). As per an example, one of the paintings closely resembles the room where Mary Kelly, the Ripper’s last victim, was killed in 1888. “The painting features a wooden bedstead, just as in the Kelly murder. Contrary to this, Sickert painted iron bedsteads in all of his other pieces, making this a strange altercation to his standard depictions” (Cornwell 109).

ack the Ripper had murdered and mutilated five prostitutes, ranging in age from their teens to mid-thirties” (Paul Begg 26-27). What made this case even more notorious than the fact that no one was ever caught was the series of “Ripper letters” sent during the murders, mocking the justice system, and stunning the masses.

Some topics in this essay:
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