title: Paracelsus

text: His hermetical beliefs were that sickness and health in the body relied upon the harmony of humans (microcosm) and nature (macrocosm). He took a different approach from those before him, using this analogy not in the manner of soul-purification but in the manner that humans must have certain balances of minerals in their bodies, and that certain illnesses of the body had chemical remedies that could cure them. As a result of this hermetical idea of harmony, the universe's macrocosm was represented in every person as a microcosm. An example of this correspondence is the doctrine of signatures used to identify curative powers of plants. If a plant looked like a part of the body, then this signified its ability to cure this given anatomy. Therefore, the root of the orchid looks like a testicle and can therefore heal any testicle-associated illness. Paracelsus mobilized the microcosm-macrocosm theory to demonstrate the analogy between the aspirations to salvation and health. As humans must ward off the influence of evil spirits with morality, they must also ward off diseases with good health.


title: Paracelsus

text: Paracelsus believed that true anatomy could only be understood once the nourishment for each part of the body was discovered. He believed that one must therefore know the influence of the stars on these particular body parts. Diseases were caused by poisons brought from the stars. However, 'poisons' were not necessarily something negative, in part because related substances interacted, but also because only the dose determined if a substance was poisonous or not. Paracelsus claimed the complete opposite of Galen, in that like cures like. If a star or poison caused a disease, then it must be countered by another star or poison. Because everything in the universe was interrelated, beneficial medical substances could be found in herbs, minerals, and various chemical combinations thereof. Paracelsus viewed the universe as one coherent organism that is pervaded by a uniting life giving spirit, and this in its entirety, humans included, was 'God'. His beliefs put him at odds with the Catholic Church, for which there necessarily had to be a difference between the creator and the created.


title: Paracelsus

text: Paracelsus also described four elemental beings, each corresponding to one of the four elements: Salamanders, which correspond to fire; Gnomes, corresponding to earth; Undines, corresponding to water; and Sylphs, corresponding to air.


title: Paracelsus

text: Paracelsus is frequently credited with reintroducing opium to Western Europe during the German Renaissance. He extolled the benefits of opium, and of a pill he called laudanum, which has frequently been asserted by others to have been an opium tincture. Paracelsus did not leave a complete recipe, and the known ingredients differ considerably from 17th-century laudanum.


title: Paracelsus

text: Paracelsus invented, or at least named a sort of liniment, opodeldoc, a mixture of soap in alcohol, to which camphor and sometimes a number of herbal essences, most notably wormwood, were added. Paracelsus's recipe forms the basis for most later versions of liniment.


title: Paracelsus

text: His work "Die große Wundarzney" is a forerunner of antisepsis. This specific empirical knowledge originated from his personal experiences as an army physician in the Venetian wars. Paracelsus demanded that the application of cow dung, feathers and other noxious concoctions to wounds be surrendered in favor of keeping the wounds clean, stating, "If you prevent infection, Nature will heal the wound all by herself." During his time as a military surgeon, Paracelsus was exposed to the crudity of medical knowledge at the time, when doctors believed that infection was a natural part of the healing process. He advocated for cleanliness and protection of wounds, as well as the regulation of diet. Popular ideas of the time opposed these theories and suggested sewing or plastering wounds. Historians of syphilitic disease credit Paracelsus with the recognition of the inherited character of syphilis. In his first medical publication, a short pamphlet on syphilis treatment that was also the most comprehensive clinical description the period ever produced, he wrote a clinical description of syphilis in which he maintained that it could be treated by carefully measured doses of mercury. Similarly, he was the first to discover that the disease could only be contracted by contact.


title: Paracelsus

text: Hippocrates put forward the theory that illness was caused by an imbalance of the four humours: blood, phlegm, black bile and yellow bile. These ideas were further developed by Galen into an extremely influential and highly persistent set of medical beliefs that were to last until the mid-1850s. Contrarily, Paracelsus believed in three humors: salt (representing stability), sulphur (representing combustibility), and mercury (representing liquidity); he defined disease as a separation of one humor from the other two. He believed that body organs functioned alchemically, that is, they separated pure from impure. The dominant medical treatments in Paracelsus's time were specific diets to help in the "cleansing of the putrefied juices" combined with purging and bloodletting to restore the balance of the four humours. Paracelsus supplemented and challenged this view with his beliefs that illness was the result of the body being attacked by "outside" agents. He objected to excessive bloodletting, saying that the process disturbed the harmony of the system, and that blood could not be purified by lessening its quantity. Paracelsus believed that fasting helped enable the body to heal itself. 'Fasting is the greatest remedy, the physician within.'


title: Paracelsus

text: Paracelsus gave birth to clinical diagnosis and the administration of highly specific medicines. This was uncommon for a period heavily exposed to cure-all remedies. The germ theory was anticipated by him as he proposed that diseases were entities in themselves, rather than states of being. Paracelsus first introduced the black hellebore to European pharmacology and prescribed the correct dosage to alleviate certain forms of arteriosclerosis. Lastly, he recommended the use of iron for "poor blood" and is credited with the creation of the terms "chemistry," "gas," and "alcohol".


title: Paracelsus

text: During Paracelsus's lifetime and after his death, he was often celebrated as a wonder healer and investigator of those folk medicines that were rejected by the fathers of medicine (e.g. Galen, Avicenna). It was believed that he had success with his own remedies curing the plague, according to those that revered him. Since effective medicines for serious infectious diseases weren't invented before the 19th century, Paracelsus came up with many prescriptions and concoctions on his own. For infectious diseases with fever, it was common to prescribe diaphoretics and tonics that at least gave temporary relief. Also many of his remedies contained the famed "theriac", a preparation derived from oriental medicine sometimes containing opium. The following prescription by Paracelsus was dedicated to the village of Sterzing:


title: Paracelsus

text: One of his most overlooked achievements was the systematic study of minerals and the curative powers of alpine mineral springs. His countless wanderings also brought him deep into many areas of the Alps, where such therapies were already practiced on a less common scale than today. Paracelsus's major work "On the Miners' Sickness and Other Diseases of Miners" () presented his observation of diseases of miners and the effects of various minerals and metals in the human organism.


title: Paracelsus

text: Paracelsus extended his interest in chemistry and biology to what is now considered toxicology. He clearly expounded the concept of dose response in his "Third Defence", where he stated that "Solely the dose determines that a thing is not a poison." ("Sola dosis facit venenum" "Only the dose makes the poison") This was used to defend his use of inorganic substances in medicine as outsiders frequently criticized Paracelsus's chemical agents as too toxic to be used as therapeutic agents. His belief that diseases locate in a specific organ was extended to inclusion of target organ toxicity; that is, there is a specific site in the body where a chemical will exert its greatest effect. Paracelsus also encouraged using experimental animals to study both beneficial and toxic chemical effects. Paracelsus was one of the first scientists to introduce chemistry to medicine. He advocated the use of inorganic salts, minerals, and metals for medicinal purposes. He held the belief that organs in the body operated on the basis of separating pure substances from impure ones. Humans must eat to survive and they eat both pure and impure things. It is the function of organs to separate the impure from the pure. The pure substances will be absorbed by the body while the impure will exit the body as excrement. He did not support Hippocrate's theory of the four humours. Instead of four humours, Paracelsus believed there were three: salt, sulphur, and mercury which represent stability, combustibility, and liquidity respectively. Separation of any one of these humours from the other two would result in disease. To cure a disease of a certain intensity, a substance of similar nature but the opposite intensity should be administered. These ideas constitute Paracelsus's principles of similitude and contrariety, respectively.


title: Paracelsus

text: In his work "Von den Krankeiten" Paracelsus writes: "Thus, the cause of the disease chorea lasciva [Sydenham's chorea, or St. Vitus' Dance] is a mere opinion and idea, assumed by imagination, affecting those who believe in such a thing. This opinion and idea are the origin of the disease both in children and adults. In children the case is also imagination, based not on thinking but on perceiving, because they have heard or seen something. The reason is this: their sight and hearing are so strong that unconsciously they have fantasies about what they have seen or heard." Paracelsus called for the humane treatment of the mentally ill as he saw them not to be possessed by evil spirits, but merely 'brothers' ensnared in a treatable malady." Paracelsus is one of the first physicians to suggest that mental well-being and a moral conscience had a direct effect on physical health. He proposed that the state of a person's psyche could cure and cause disease. Theoretically, a person could maintain good health through sheer will. He also stated that whether or not a person could succeed in their craft depended on their character. For example, if a physician had shrewd and immoral intentions then they would eventually fail in their career because evil could not lead to success. When it came to mental illness, Paracelsus stressed the importance of sleep and sedation as he believed sedation (with sulphur preparations) could catalyse healing and cure mental illness.


title: Paracelsus

text: The oldest surviving portrait of Paracelsus is a woodcut by Augustin Hirschvogel, published in 1538, still during Paracelsus's lifetime. A still older painting by Quentin Matsys has been lost, but at least three 17th-century copies survive, one by an anonymous Flemish artist, kept in the Louvre, one by Peter Paul Rubens, kept in Brussels, and one by a student of Rubens, now kept in Uppsala. Another portrait by Hirschvogel, dated 1540, claims to show Paracelsus "at the age of 47" ("sue aetatis 47"), i.e. less than a year before his death. In this portrait, Paracelsus is shown as holding his sword, gripping the spherical pommel with the right hand. Above and below the image are the mottos "Alterius non sit qui suus esse potest" ("Let no man belong to another who can belong to himself") and "Omne donum perfectum a Deo, inperfectum a Diabolo" ("All perfect gifts are from God, [all] imperfect [ones] from the Devil"); later portraits give a German rendition in two rhyming couplets ("Eines andern Knecht soll Niemand sein / der für sich bleiben kann allein /all gute Gaben sint von Got / des Teufels aber sein Spot"). Posthumous portraits of Paracelsus, made for publications of his books during the second half of the 16th century, often show him in the same pose, holding his sword by its pommel.


title: Paracelsus

text: The so-called "Rosicrucian portrait", published with "Philosophiae magnae Paracelsi" (Heirs of Arnold Birckmann, Cologne, 1567), is closely based on the 1540 portrait by Hirschvogel (but mirrored, so that now Paracelsus's left hand rests on the sword pommel), adding a variety of additional elements: the pommel of the sword is inscribed by "Azoth", and next to the figure of Paracelsus, the Bombast von Hohenheim arms are shown (with an additional border of eight crosses patty). Shown in the background are "early Rosicrucian symbols", including the head of a child protruding from the ground (indicating rebirth). The portrait is possibly a work by Frans Hogenberg, acting under the directions of Theodor Birckmann (1531/33–1586).


title: Paracelsus

text: Paracelsus was especially venerated by German Rosicrucians, who regarded him as a prophet, and developed a field of systematic study of his writings, which is sometimes called "Paracelsianism", or more rarely "Paracelsism". Francis Bacon warned against Paracelsus and the Rosicrucians, judging that "the ancient opinion that man was "microcosmus"" had been "fantastically strained by Paracelsus and the alchemists".


title: Paracelsus

text: "Paracelsism" also produced the first complete edition of Paracelsus's works. Johannes Huser of Basel (c. 1545–1604) gathered autographs and manuscript copies, and prepared an edition in ten volumes during 1589–1591.


title: Paracelsus

text: The prophecies contained in Paracelsus's works on astrology and divination began to be separately edited as "Prognosticon Theophrasti Paracelsi" in the early 17th century. His prediction of a "great calamity just beginning" indicating the End Times was later associated with the Thirty Years' War, and the identification of Gustavus Adolphus of Sweden as the "Lion from the North" is based in one of Paracelsus's "prognostications" referencing Jeremiah 5:6.


title: Paracelsus

text: Carl Gustav Jung studied Paracelsus. Two essays on Paracelsus, one delivered in the house in which Paracelsus was born at Einsiedeln in June 1929, the other to commemorate the 400th anniversary of Paracelsus's death in 1941 at Zurich.


title: Paracelsus

text: A number of fictionalised depictions of Paracelsus have been published in modern literature. The first presentation of Paracelsus's life in the form of a historical novel was published in 1830 by Dioclès Fabre d'Olivet (1811–1848, son of Antoine Fabre d'Olivet), Robert Browning wrote a long poem based on the life of Paracelsus, entitled "Paracelsus", published 1835. Meinrad Lienert in 1915 published a tale (which he attributed to Gall Morel) about Paracelsus's sword.


title: Paracelsus

text: The Fullmetal Alchemist character Van Hohenheim (full name Theophrastus Bombastus Van Hohenheim) is named after Paracelsus.


title: Paracelsus

text: Arthur Schnitzler wrote a verse play "Paracelsus" in 1899. Erwin Guido Kolbenheyer wrote a novel trilogy ("Paracelsus-Trilogie"), published during 1917–26. Martha Sills-Fuchs (1896–1987) wrote three "völkisch" plays with Paracelsus as the main character during 1936–1939 in which Paracelsus is depicted as the prophetic healer of the German people.


title: Paracelsus

text: The German drama film "Paracelsus" was made in 1943, directed by Georg Wilhelm Pabst. Also in 1943, Richard Billinger wrote a play "Paracelsus" for the Salzburg Festival.


title: Paracelsus

text: Mika Waltari's "Mikael Karvajalka" (1948) has a scene fictionalising Paracelsus's acquisition of his legendary sword. Paracelsus is the main character of Jorge Luis Borges's short story "La rosa de Paracelso" (anthologized in "Shakespeare's Memory", 1983). The Rose of Paracelsus: On Secrets and Sacraments, borrowing from Jorge Luis Borges, is also a novel by William Leonard Pickard.


title: Paracelsus

text: A.B.A, a Homunculus from the Guilty Gear series, wields a living, key-shaped ax which she named "Paracelsus".


title: Paracelsus

text: Because of the work of Karl Widemann, who copied over 30 years the work of Paracelsus, many unpublished works survived.


title: Electric potential

text: The electric potential (also called the "electric field potential", potential drop, the electrostatic potential) is defined as the amount of work energy needed to move a unit of electric charge from a reference point to the specific point in an electric field. More precisely, it is the energy per unit charge for a test charge that is so small that the disturbance of the field under consideration is negligible. Furthermore, the motion across the field is supposed to proceed with negligible acceleration, so as to avoid the test charge acquiring kinetic energy or producing radiation. By definition, the electric potential at the reference point is zero units. Typically, the reference point is earth or a point at infinity, although any point can be used.


title: Electric potential

text: In classical electrostatics, the electrostatic field is a vector quantity expressed as the gradient of the electrostatic potential, which is a scalar quantity denoted by or occasionally , equal to the electric potential energy of any charged particle at any location (measured in joules) divided by the charge of that particle (measured in coulombs). By dividing out the charge on the particle a quotient is obtained that is a property of the electric field itself. In short, an electric potential is the electric potential energy per unit charge.


title: Electric potential

text: This value can be calculated in either a static (time-invariant) or a dynamic (time-varying) electric field at a specific time with the unit joules per coulomb (J⋅C) or volt (V). The electric potential at infinity is assumed to be zero.


title: Electric potential

text: In electrodynamics, when time-varying fields are present, the electric field cannot be expressed only in terms of a scalar potential. Instead, the electric field can be expressed in terms of both the scalar electric potential and the magnetic vector potential. The electric potential and the magnetic vector potential together form a four-vector, so that the two kinds of potential are mixed under Lorentz transformations.


title: Electric potential

text: Practically, the electric potential is a continuous function in all space, because a spatial derivative of a discontinuous electric potential yields an electric field of impossibly infinite magnitude. Notably, the electric potential due to an idealized point charge (proportional to , with the distance from the point charge) is continuous in all space except at the location of the point charge. Though electric field is not continuous across an idealized surface charge, it is not infinite at any point. Therefore, the electric potential is continuous across an idealized surface charge. Additionally, an idealized line of charge has electric potential (proportional to , with the radial distance from the line of charge) is continuous everywhere except on the line of charge.


title: Electric potential

text: Classical mechanics explores concepts such as force, energy, and potential. Force and potential energy are directly related. A net force acting on any object will cause it to accelerate. As an object moves in the direction of a force acting on it, its potential energy decreases. For example, the gravitational potential energy of a cannonball at the top of a hill is greater than at the base of the hill. As it rolls downhill, its potential energy decreases and is being translated to motion – kinetic energy.


title: Electric potential

text: It is possible to define the potential of certain force fields so that the potential energy of an object in that field depends only on the position of the object with respect to the field. Two such force fields are a gravitational field and an electric field (in the absence of time-varying magnetic fields). Such fields affect objects because of the intrinsic properties (e.g., mass or charge) and positions of the objects.


title: Electric potential

text: An object may possess a property known as electric charge. Since an electric field exerts force on a charged object, if the object has a positive charge, the force will be in the direction of the electric field vector at the location of the charge; if the charge is negative, the force will be in the opposite direction.


title: Electric potential

text: The magnitude of force is given by the quantity of the charge multiplied by the magnitude of the electric field vector,


title: Electric potential

text: where is an arbitrary path from some fixed reference point to . In electrostatics, the Maxwell-Faraday equation reveals that the curl formula_2 is zero, making the electric field conservative. Thus, the line integral above does not depend on the specific path chosen but only on its endpoints, making formula_3 well-defined everywhere. The gradient theorem then allows us to write:


title: Electric potential

text: This states that the electric field points "downhill" towards lower voltages. By Gauss's law, the potential can also be found to satisfy Poisson's equation:


title: Electric potential

text: The concept of electric potential is closely linked with potential energy. A test charge, , has an electric potential energy, , given by


title: Electric potential

text: The potential energy and hence, also the electric potential, is only defined up to an additive constant: one must arbitrarily choose a position where the potential energy and the electric potential are zero.


title: Electric potential

text: These equations cannot be used if formula_7, i.e., in the case of a "non-conservative electric field" (caused by a changing magnetic field; see Maxwell's equations). The generalization of electric potential to this case is described in the section .


title: Electric potential

text: The electric potential arising from a point charge, , at a distance, , from the location of is observed to be


title: Electric potential

text: The electric potential at any location, formula_10, in a system of point charges is equal to the sum of the individual electric potentials due to every point charge in the system. This fact simplifies calculations significantly, because addition of potential (scalar) fields is much easier than addition of the electric (vector) fields. Specifically, the potential of a set of discrete point charges at points becomes


title: Electric potential

text: The equations given above for the electric potential (and all the equations used here) are in the forms required by SI units. In some other (less common) systems of units, such as CGS-Gaussian, many of these equations would be altered.


title: Electric potential

text: When time-varying magnetic fields are present (which is true whenever there are time-varying electric fields and vice versa), it is not possible to describe the electric field simply in terms of a scalar potential because the electric field is no longer conservative: formula_23 is path-dependent because formula_24 (due to the Maxwell-Faraday equation).


title: Electric potential

text: Instead, one can still define a scalar potential by also including the magnetic vector potential . In particular, is defined to satisfy:


title: Electric potential

text: where is the magnetic field. By the fundamental theorem of vector calculus, such an can always be found, since the divergence of the magnetic field is always zero due to the absence of magnetic monopoles. Now, the quantity


title: Electric potential

text: "is" a conservative field, since the curl of formula_27 is canceled by the curl of formula_28 according to the Maxwell–Faraday equation. One can therefore write


title: Electric potential

text: The electrostatic potential is simply the special case of this definition where is time-invariant. On the other hand, for time-varying fields,


title: Electric potential

text: The electrostatic potential could have any constant added to it without affecting the electric field. In electrodynamics, the electric potential has infinitely many degrees of freedom. For any (possibly time-varying or space-varying) scalar field, formula_31, we can perform the following gauge transformation to find a new set of potentials that produce exactly the same electric and magnetic fields:


title: Electric potential

text: Given different choices of gauge, the electric potential could have quite different properties. In the Coulomb gauge, the electric potential is given by Poisson's equation


title: Electric potential

text: just like in electrostatics. However, in the Lorenz gauge, the electric potential is a retarded potential that propagates at the speed of light and is the solution to an inhomogeneous wave equation:


title: Electric potential

text: The SI derived unit of electric potential is the volt (in honor of Alessandro Volta), denoted as V, which is why the electric potential difference between two points in space is known as a voltage. Older units are rarely used today. Variants of the centimetre–gram–second system of units included a number of different units for electric potential, including the abvolt and the statvolt.


title: Electric potential

text: Inside metals (and other solids and liquids), the energy of an electron is affected not only by the electric potential, but also by the specific atomic environment that it is in. When a voltmeter is connected between two different types of metal, it measures the potential difference corrected for the different atomic environments. The quantity measured by a voltmeter is called electrochemical potential or fermi level, while the pure unadjusted electric potential, , is sometimes called the Galvani potential, formula_36. The terms "voltage" and "electric potential" are a bit ambiguous but one may refer to "either" of these in different contexts.


title: Ty Simpkins

text: Ty Keegan Simpkins (born August 6, 2001) is an American actor. His notable film credits include the supernatural horror "Insidious" (2011), its sequel "" (2013) and "Jurassic World" (2015). He is also known for his appearances in the Marvel Cinematic Universe as Harley Keener in "Iron Man 3" (2013) and "" (2019).


title: Ty Simpkins

text: Simpkins was born in New York City, to Monique and Stephen Simpkins. His elder sibling is actor Ryan Simpkins. In 2020, he began attending San Diego State University and is a member of the Pi Kappa Alpha fraternity.


title: Ty Simpkins

text: Simpkins first appeared on TV when he was three weeks old. His first role was on "One Life to Live" where he shared the recurring role as John "Jack" Cramer. Simpkins then had a recurring role as Jude Cooper Bauer on "Guiding Light", in which he went on to be "Jude" for about four years. He guest starred in "" and a handful of commercials and print ads.


title: Ty Simpkins

text: Simpkins made his film debut in Steven Spielberg's "War of the Worlds" (2005). Next was a featured role in "All the King's Men" (2006) where he played a young version of Jude Law's character, and he played Aaron in the multiple-award-winning "Little Children" (2006). Simpkins went on to film "Pride and Glory" (2008), in which he and his sibling, actor Ryan Simpkins, play the children of Colin Farrell. Simpkins also completed "Gardens of the Night" (2008) and then "Revolutionary Road" (2008), in which he again starred alongside his real-life sibling Ryan. Simpkins has guest-starred on "", "Private Practice" and "Family of Four". In September 2009, he signed on to play Luke in the 2010 film "The Next Three Days". He also played Dalton Lambert in "Insidious" (2011) and "" (2013).


title: Ty Simpkins

text: In 2013, Simpkins starred alongside Robert Downey Jr. in the live-action film "Iron Man 3", as Tony Stark's sidekick Harley Keener (he also reprises the role in "Lego Marvel's Avengers"). This was the first time a child character had been featured prominently in the "Iron Man" films. He appeared in "Iron Man 3" director Shane Black's 2016 film, "The Nice Guys".


title: Ty Simpkins

text: In 2019, he reprised the role of Harley Keener in a cameo during Stark's funeral at the end of the film "". Simpkins later revealed that he had to keep Stark's death, and his own cameo, a secret for two years.


title: Batman: Mask of the Phantasm

text: Batman: Mask of the Phantasm (also known as Batman: The Animated Movie: Mask of the Phantasm) is a 1993 American animated romantic superhero film featuring the DC Comics character Batman. It was directed by Eric Radomski and Bruce Timm, and written by Alan Burnett, Paul Dini, Martin Pasko, and Michael Reaves. The film is based on "" (1992-1995) and is the first original theatrical film produced by Warner Bros. Animation, the first film in the DC Animated Universe and the only one released theatrically. Kevin Conroy, Mark Hamill, Efrem Zimbalist Jr., Bob Hastings and Robert Costanzo reprise their voice roles from "Batman: The Animated Series", joined by Dana Delany, Hart Bochner, Stacy Keach Jr., Abe Vigoda, Dick Miller and John P. Ryan. Produced between the first and second seasons of the series, the film follows Batman as he reconciles with a former lover, Andrea Beaumont, and faces a mysterious vigilante who is murdering Gotham City's crime bosses. The plot was inspired by Mike W. Barr's "" comic book story arc, but features an original antagonist, the Phantasm, in place of the Reaper, while also borrowing elements from the "" graphic novel, recounting how Bruce Wayne became Batman and his first attempts to fight crime.


title: Batman: Mask of the Phantasm

text: Originally planned for a direct-to-video release, Warner Bros. gave "Mask of the Phantasm" a theatrical release, condensing its production into a strenuous eight-month schedule. The film was the first theatrical feature film produced by Warner Bros. Animation, and was released through the studio's Family Entertainment division on December 25, 1993, to positive reviews from critics, who praised the stylized animation, voice performances, story, and music. In the years since its release, "Mask of the Phantasm" has developed a cult following, and continued to receive acclaim. In 2011, "Time" ranked it as one of the 10 best superhero films ever. In 2017, Screen Rant named the film the best "Batman" movie of all time. In 2018, "Paste" magazine called the film "the greatest "Batman" movie". In 2022, "Empire" magazine named it the best "Batman" film. Also in 2022, "Rolling Stone" placed "Mask of the Phantasm" at number 19 on its list of the 50 Greatest Superhero Movies of All Time, being the only traditionally-animated film included, the third-best animated superhero film and the second-best "Batman" film of all time, behind only "The Dark Knight" (number eight).


title: Batman: Mask of the Phantasm

text: Due to the decision to release it in theaters on short notice, "Mask of the Phantasm" failed at the box office. After its release on home media, it became financially successful. Its success led to other animated Batman movies, though direct-to-video releases, such as "" (1998). Until the limited release of "" in 2016, "Mask of the Phantasm" was the only animated "Batman" film to be given a theatrical release, as well as the only one to receive a full theatrical release until "The Lego Batman Movie" in 2017.


title: Batman: Mask of the Phantasm

text: A young Bruce Wayne and Andrea Beaumont begin a relationship after meeting while visiting their respective parents' graves. At the same time Bruce makes his first attempts at crime-fighting, but while he succeeds in foiling robberies he is discouraged that the criminals do not fear him. Bruce becomes conflicted about whether to commit to his relationship with Andrea or defend Gotham City to avenge his parents, but eventually proposes marriage. Andrea accepts, only to mysteriously leave Gotham with her father, businessman Carl Beaumont, ending the engagement in a Dear John letter. Heartbroken, Bruce assumes the mantle of Batman.


title: Batman: Mask of the Phantasm

text: Ten years later, Batman breaks up a meeting of Gotham crime bosses led by Chuckie Sol. When Sol tries to escape in his car, he is killed by a cloaked figure, the "Phantasm", who causes him to speed out of control and fatally crash into a building. Batman is witnessed at the scene and it is believed he killed Sol, with city councilman Arthur Reeves, who is corrupt and on the mob's payroll, vowing to have him arrested.


title: Batman: Mask of the Phantasm

text: The Phantasm murders another gangster, Buzz Bronski, in the Gotham Cemetery, where Bronski's bodyguards see Phantasm and mistake him for Batman. Batman investigates the scene of Bronski's death and encounters Andrea, inadvertently revealing his identity to her. Batman finds evidence linking Carl Beaumont with Sol, Bronski and a third gangster, Salvatore Valestra, later finding a photograph of the four together in Valestra's home. Paranoid that Batman will come for him next, the now-elderly Valestra asks Reeves for help, but is refused. In desperation, he turns to the Joker.


title: Batman: Mask of the Phantasm

text: The Phantasm goes to kill Valestra at his mansion, only to find him dead from exposure to Joker's venom. Seeing Phantasm through a camera, Joker realizes Batman is not the murderer and detonates a bomb he planted in the mansion. Phantasm escapes the blast and is pursued by Batman but disappears, leaving Batman ambushed by the police but saved from arrest by Andrea. She later explains to Bruce that her father embezzled money from Valestra and was forced to repay it; Valestra then demanded he pay more and put a hit on Carl, prompting him to go into hiding with Andrea. While considering resuming his relationship with Andrea, Bruce concludes that Carl Beaumont is the Phantasm until he takes another look at the photo with him and Valestra, recognizing one of Valestra's men as the Joker.


title: Batman: Mask of the Phantasm

text: Joker presses Reeves for information, believing him to be behind the Phantasm in order to erase his mob connections, before poisoning him with venom which drives Reeves insane. Reeves is taken to the hospital, where he is interrogated by Batman, confessing that while previously working as Carl's accountant he helped the Beaumonts escape, but told Valestra their location in exchange for funding his first city council campaign. Both Batman and Joker deduce that the Phantasm is Andrea, who intends to wipe out the Valestra mob for killing her father and robbing her of a future with Bruce.


title: Batman: Mask of the Phantasm

text: Andrea tracks down Joker, her father's killer, to his hideout in Gotham's abandoned World's Fair. They fight but are interrupted by Batman, who begs Andrea to stop, to no avail. Joker prepares to blow up the fair but is seized by Andrea, who bids Batman goodbye as the explosives detonate. Batman survives the blast but finds no trace of either Andrea or the Joker. Bruce is later consoled by Alfred in the Batcave, who assures him Andrea could not have been helped, before finding Andrea's locket containing a picture of them together. A sorrowful Andrea departs Gotham and a saddened Batman, cleared of the accusations against him, resumes crimefighting.


title: Batman: Mask of the Phantasm

text: Impressed by the success of the first season of "" on Fox, Warner Bros. assigned Alan Burnett to write a story for a full-length animated film. The original idea for the film was to have Batman being captured by his enemies at Arkham Asylum and face a kangaroo court in which the villains try him for making them what they are. The idea's concept, however, was considered "too brainy", as it required Batman to be immobile for a long time, so the idea was later used in the series' episode "Trial", which was aired after the film's release. Although the Joker does play a pivotal role in the film, it was Burnett's intention to tell a story far removed from the television series' regular rogues gallery. Burnett also cited he "wanted to do a love story with Bruce because no one had really done it on the TV show. I wanted a story that got into his head." Members of the creative team have claimed that they did not intend for the Joker to appear in the film; Paul Dini has contradicted this, stating that the Joker's role was always part of the story from the beginning of the film's production. The writers were highly cautious of placing the Joker in the film, as they did not want any connection to Tim Burton's 1989 film "Batman", but writer Michael Reaves said, "We then realized that we could make his appearance serve the story in a way that we never could in live-action." In order to keep the Joker as a solo threat, Bruce Timm and Burnett convinced frequent "Animated Series" writer Dini to not use Harley Quinn in the film for that reason. The same technique was previously used in the episodes "Joker's Wild" and "The Strange Secret of Bruce Wayne".


title: Batman: Mask of the Phantasm

text: Aiding Burnett in writing the script were Martin Pasko, who handled most of the flashback segments; Reaves, who wrote the climax; and Dini, who claims he "filled in holes here and there". The film's plot was heavily influenced by the 1987 miniseries "", written by Mike W. Barr and illustrated by Alan Davis, Paul Neary, Alfredo Alcala, Mark Farmer and Todd McFarlane. Orson Welles' 1941 classic "Citizen Kane" served as an influence for the flashbacks, a story about loss and the passage of time. The character of Hazel, the cook robot of the World of the Future Fair, was named by Burnett after Hazel the Maid (portrayed by Academy Award-winning actress Shirley Booth), "The Saturday Evening Post" protagonist of cartoonist Ted Key's TV series "Hazel". On the other hand, the design of the Phantasm went into 20 different versions until one was found which convinced the film's crew. According to Burnett, the Phantasm was like the Grim Reaper with a cape, although the idea was to make him resemble the Ghost of Christmas Yet to Come of Charles Dickens' novel "A Christmas Carol", something that even the Joker mentions in the finished version of the film.


title: Batman: Mask of the Phantasm

text: Early in production, Warner Bros. decided to release "Phantasm" theatrically, rather than straight to video. That left less than a year for production time (most animated features take well over two years from finished story to final release). Due to this decision, the animators went over the scenes in order to accommodate the widescreen theatrical aspect ratio. The studio cooperated well, granting the filmmakers a large amount of creative control.


title: Batman: Mask of the Phantasm

text: Warner Bros. also increased the production budget to $6 million, which gave the filmmakers opportunities for more elaborate set pieces. The opening title sequence featured a flight through an entirely computer-generated Gotham City. As a visual joke, sequence director Kevin Altieri set the climax of the film inside a miniature automated model of Gotham City, where Batman and the Joker are giants. This was an homage to a mainstay of Batman comic books of the Dick Sprang era, often featuring the hero fighting against a backdrop of gigantic props (they would later do another homage to Sprang's works in "The New Batman Adventures" episode "Legends of the Dark Knight"). From start to finish, the film was completed within eight months.


title: Batman: Mask of the Phantasm

text: Paul Dini intended each of the flashbacks into Batman's love life to "have a tendency to get worse, when you hope things will get better." Bruce's relationship with Andrea, which at first shows promise, eventually turns into turmoil. At first, Bruce and Andrea are set for marriage, but then Bruce is given a farewell note from Andrea cutting off their relationship. This eventually leads into Bruce's decision to become Batman. Richard Corliss of "Time" felt this scene paralleled Andrea's decision to avenge her own parents and reject love when she finds her own father murdered. Both events transform the two people (Bruce becomes Batman, Andrea becomes the Phantasm). One scene depicts Bruce Wayne at his parents' tombstone saying, "I didn't count on being happy." According to Reaves, this scene was to be a pivotal moment in Bruce's tragic life, as he denies himself the opportunity to live a normal life. Reaves also stated: "When Bruce puts on the mask for the first time, [after Andrea breaks their engagement], and Alfred says 'My God!' he's reacting in horror, because he's watching this man he's helped raise from childhood, this man who has let the desire for vengeance and retribution consume his life, at last embrace the unspeakable."


title: Batman: Mask of the Phantasm

text: The soundtrack was composed by Shirley Walker, the main composer for "The Animated Series". Walker cited the score as a favorite among her own compositions. In an interview with Cinemusic.com, Walker explained that the "latin" lyrics used in the Main Title were actually names of key Warner Bros. staff read backwards. The song "I Never Even Told You" was written by Siedah Garrett and Glen Ballard. It was performed by Tia Carrere. Hans Zimmer, who would later compose the score for "The Dark Knight Trilogy", played the synthesizer on the score.


title: Batman: Mask of the Phantasm

text: The score was originally released on December 14, 1993, by Reprise Records. On March 24, 2009, La-La Land Records released a limited expanded edition. The release includes all tracks found on the original release with some tracks expanded. It also features almost 30 minutes of previously unreleased material.


title: Batman: Mask of the Phantasm

text: In December 1993, two novelizations were released. One was a young readers book written by Andrew Helfer, with the other being an adult-oriented novelisation authored by Geary Gravel.


title: Batman: Mask of the Phantasm

text: DC Comics released a comic book adaptation written by Kelley Puckett and drawn by Mike Parobeck. The comic book adaptation was later included with the VHS release. Kenner, who had already released toys for the cartoon series, produced several tie-in figures for the film, including Joker and the Phantasm (packaged unmasked, spoiling a pivotal plot point in the film). "Batman & Robin Adventures Annual #1: Shadow of the Phantasm" is a comic book sequel to the film. It was written by Dini and released in 1996. In 2015, a DC Collectibles action figure 2-pack featuring Batman and Phantasm was released.


title: Batman: Mask of the Phantasm

text: "Mask of the Phantasm" was released on LaserDisc in April 1994 and on VHS in May of the same year. The VHS was reissued in April 2003 as part of a three-tape pack with "" and "". "Mask of the Phantasm" was first released on DVD in December 1999 as a snap case and in October 2005 as a keep case with the insert. The film was re-released in April 2004 as a three disc DVD box set that included "SubZero" and "Return of the Joker". That version is currently out of print. Warner Home Video re-released the film again in February 2008 as a double feature DVD with "SubZero".


title: Batman: Mask of the Phantasm

text: The film was released as part of the Warner Archive Collection on Blu-ray on July 25, 2017, featuring new high definition transfers in and open matte presentations. The film was also included in the Blu-ray release of the "Batman: The Complete Animated Series" box-set in late 2018.


title: Batman: Mask of the Phantasm

text: "Batman: Mask of the Phantasm" opened on Christmas Day, 1993 in the United States in 1,506 theaters, accumulating $1,189,975 over its first 2 days. The film went on to gross $5,795,524 in the domestic total box office intake. The filmmakers blamed Warner Bros. for the unsuccessful marketing campaign, which is commonly attributed to the rushed production schedule due to studio's last-minute decision to release the film theatrically. Despite this, "Mask of the Phantasm" eventually turned a profit with its various home media releases.


title: Batman: Mask of the Phantasm

text: "Batman: Mask of the Phantasm" received generally positive reviews from critics. According to the review aggregator website Rotten Tomatoes, of critics have given the film a positive review based on reviews, with an average rating of . The site's critics consensus reads, "Stylish and admirably respectful of the source material, "Batman: Mask of the Phantasm" succeeds where many of the live-action Batman adaptations have failed." "Empire" cited it as the best animated film of 1993, and felt it contained better storylines than Tim Burton's "Batman" and "Batman Returns". "TV Guide Magazine" was impressed with the Art Deco noir design that was presented. In addition the film's climax and Batman's escape from the Gotham City Police Department were considered to be elaborate action sequences. Richard Harrington of "The Washington Post" agreed with overall aspects that included the animation, design, dialogue and storyline, as well as Shirley Walker's film score. Gene Siskel and Roger Ebert regretted not having viewed the film during its theatrical release and gave it a positive review on their television series, "At the Movies", when the film was released on home media, with Siskel feeling that "Phantasm" was better than "Batman Returns" and Joel Schumacher's "Batman Forever", and only slightly below "Batman".


title: Batman: Mask of the Phantasm

text: However, Stephen Holden of "The New York Times" thought the voice performances were "flat and one-dimensional". Chris Hicks of the "Deseret News" felt "the picture didn't come alive until the third act" feeling that the animators sacrificed the visuals for the storyline. In addition, he felt Mark Hamill's Joker "stole the show." Leonard Klady of "Variety" had mixed reactions towards the film, but his review was negative overall. He felt the overall themes and morals were clichéd and cited the animation to be to the "point of self-parody".


title: Batman: Mask of the Phantasm

text: "Wired"s Scott Thill called Kevin Conroy "the finest Batman on record" in 2009. In a 2010 list, IGN ranked "Mask of the Phantasm" as the 25th best animated film of all time. That same year, IGN also stated it was "the Dark Knight's best big screen story" until "Batman Begins". In 2011, "Total Film" also named "Mask of the Phantasm" as one of the greatest animated films of all time, coming in at 47th out of 50. "Time" ranked "Phantasm" as one of the 10 best superhero films ever in 2011. In 2017, Screen Rant named the film the best Batman movie of all time. In 2018, "Paste" magazine called the film "the greatest Batman movie". In 2022, "Empire" magazine named "Mask of the Phantasm" the best Batman movie. Also in 2022, nearly 30 years after its release, "Rolling Stone" placed "Mask of the Phantasm" at number 19 on its list of the 50 Greatest Superhero Movies of All Time, being the only traditionally-animated film included, the third-best animated superhero movie and the second-best Batman movie of all time, behind only "The Dark Knight" (number 8).


title: Batman: Mask of the Phantasm

text: "Mask of the Phantasm" was cited as an example of a film that effectively personified the character's "inner bubble" and psyche by actor Robert Pattinson, who portrayed a live-action iteration of Bruce Wayne in the Matt Reeves film "The Batman" (2022).


title: Batman: Mask of the Phantasm

text: To commemorate the film's 20th anniversary, a screening of the film was held in Santa Monica with cast members Kevin Conroy, Dana Delany and Mark Hamill in attendance. To commemorate the film's 25th anniversary, Fathom Events rereleased the film for one day on November 12, 2018.


title: Batman: Mask of the Phantasm

text: Alongside "The Lion King" and "The Nightmare Before Christmas", "Mask of the Phantasm" was nominated for an Annie Award in the category of Best Animated Feature, but lost to the former.


title: Shakti Kapoor

text: Shakti Kapoor (born Sunil Kapoor; 3 September 1952) is an Indian actor and comedian who appears in Bollywood films. Known for his villainous and comic roles in Hindi films, he has featured in over 600 films. In the 1980s and 1990s, Kapoor teamed up with actor Asrani and Kader Khan as the comical or evil team in over 100 films. He was a contestant in the Indian reality show "Bigg Boss" in 2011.


title: Shakti Kapoor

text: Kapoor was born in Delhi to a Punjabi family. His father ran a clothes shop in Connaught Place, New Delhi. After a long struggle in Bollywood, Kapoor was spotted by Sunil Dutt while he was making "Rocky" to launch his son Sanjay Dutt. He was then cast as the antagonist in the movie. But Dutt felt that his name "Sunil Kapoor" wouldn't do justice to his villainous stint and hence, "Shakti Kapoor" was born.


title: Shakti Kapoor

text: Kapoor is married to Shivangi Kolhapure (elder sister of actresses Padmini Kolhapure and Tejaswini Kolhapure) and has two children, a son Siddhanth Kapoor and a daughter Shraddha Kapoor . He resides in Juhu, Mumbai.


title: Shakti Kapoor

text: As a struggler in Bollywood, initially Shakti Kapoor did many inconsequential roles in movies, all the while looking out for a suitable role as a leading man. He started his Bollywood journey with movie Khel Khilari Ka (starring Darmendra and Hema Malini) in 1977. The years 1980–81 established Shakti Kapoor as an actor in Bollywood with two of his movies, where he was villain - "Qurbani" and "Rocky". In 1983, Kapoor had roles in "Himmatwala" and the Subhash Ghai directed movie "Hero". Kapoor had played villain roles in both these movies.


title: Shakti Kapoor

text: In the 1990s, he often diversified to positive comic roles and performed them with equal finesse in movies like Raja Babu. He has been nominated for the Filmfare Award in the Best Comedian category and won once, for his performance as Nandu in David Dhawan's film, Raja Babu. Some of his comic roles have been as Inspector Bhinde in "Insaaf", Prasad in "Baap Numbri Beta Dus Numbri", Crime Master Gogo in "Andaz Apna Apna", "Tohfa", as Batuknath in "ChaalBaaz" and as Goonga in "Bol Radha Bol".


title: Shakti Kapoor

text: Kapoor has been a reference for mimicry artistes who emulate his style and dialogues such as "Aaaooo Lolita" from the movie "Tohfa", "Main Nanha sa Chotta sa Bachcha Hoon" from the movie "Chaalbaaz" and "Nandu sabka bandhu, samajhta nahi hai yaar" from the movie "Raja Babu". Since 2000, Kapoor is a regular fixture in Priyadarshan films like "Hungama", "Hulchul", "Chup Chup Ke", "Malamaal Weekly" and the Malayalam remake "Bhagam Bhag". He also acted in a few Bengali films of Kolkata, Odia film and in an Assamese feature film. In 2011, he was in the reality television show "Bigg Boss 5" as one of the contestants. He has appeared in the musical comedy "Aasman Se Gire Khajoor Pe Atke" with his sister-in-law Padmini Kolhapure. He is also the brand ambassador of Servokon.


title: Shakti Kapoor

text: In March 2005, India TV released a video allegedly showing Shakti Kapoor asking for sexual favour from an undercover reporter posing as an aspiring actress, in return for entry into the film industry. He told the undercover reporter: "I want to make love to you ... kiss you" According to India TV, this was a sting operation to expose the phenomenon of casting couch prevalent in Bollywood. This incident sparked a controversy in Bollywood and Kapoor was banned by the Film & Television Producers Guild of India. Association of Indian Motion Pictures and TV Programme Producers decided not to ban him as no allegations against him were proved. One week later, however, the Film & Television Producers Guild lifted the ban.


title: Shakti Kapoor

text: Kapoor claimed that the video clip in question was doctored and he has been framed. He said that the undercover reporter met him several times and threatened to commit suicide if he did not come to the hotel room she had booked.


title: Ovidio Guzmán López

text: Ovidio Guzmán López (born 29 March 1990), commonly known as "El Ratón" or "El Nuevo Ratón" ("The Mouse" or "The New Mouse"), is a Mexican drug lord and high-ranking member of the Sinaloa Cartel, a criminal group based in Sinaloa. He is the son of infamous drug lord Joaquín "El Chapo" Guzmán, once considered Mexico's most-wanted drug lord and the world's most-wanted criminal.


title: Ovidio Guzmán López

text: Guzmán López was born 29 March 1990 and is a son of Joaquín "El Chapo" Guzmán with his second wife. He has been involved in his father's drug trafficking business since he was a teenager, and has taken a prominent role of the Sinaloa Cartel after his father's arrest. He is thought to lead the cartel along with his brothers Iván Archivaldo Guzmán, Jesús Alfredo Guzmán, and Ismael "El Mayo" Zambada, so on 8 May 2012, Ovidio Guzmán was sanctioned pursuant to the US Foreign Narcotics Kingpin Designation Act (Kingpin Act).


title: Ovidio Guzmán López

text: In July 2017, the United States Attorney for the District of Columbia empaneled a grand jury that formally indicted both Ovidio Guzmán López and his brother Joaquin Guzmán López on charges of participating in a conspiracy to traffic cocaine, methamphetamine and marijuana since 2008. The sealed indictment was filed April 2, 2018. On December 12, 2018, the indictment was unsealed for the limited purpose of disclosure in an extradition proceeding pursuant to the Jencks Act. Judge Rudolph Contreras ordered the full unsealing of the indictment on February 13, 2019.


title: Ovidio Guzmán López

text: On October 17, 2019, members of the Mexican National Guard briefly arrested Ovidio Guzmán López in Culiacán, Sinaloa, setting off several gun battles in the city. Heavily armed cartel gunmen (numbering over 700) threatened mass civilian deaths, including an attack to the apartment complex housing the relatives of the local military personnel. Hours later, Ovidio Guzmán was freed, with Mexican President Andrés Manuel López Obrador saying he supported the decision in order to "prevent more bloodshed". The next month, however, one of the officers who arrested Ovidio, identified as Eduardo N., was assassinated.


title: Ovidio Guzmán López

text: On 8 May 2020, Santiago Nieto, head of Mexico's Unidad de Inteligencia Financiera, confirmed that the Government of Mexico froze Ovidio Guzmán's assets, stating, "We have frozen the accounts of Ovidio and of 330 people linked to the cartel and have filed a complaint with the Prosecutor's Office. We have also found irregularities."


title: Mary Jane Kelly

text: Mary Jane Kelly ( – 9 November 1888), also known as Marie Jeanette Kelly, Fair Emma, Ginger, Dark Mary and Black Mary, is widely believed to have been the final victim of the notorious unidentified serial killer Jack the Ripper, who murdered at least five women in the Whitechapel and Spitalfields districts of London from late August to early November 1888. At the time of Kelly's death, she was approximately 25 years old, working as a prostitute and living in relative poverty.


title: Mary Jane Kelly

text: Unlike the other four canonical Ripper victims—each of whom had been murdered outdoors and whose mutilations could have been committed within minutes—Kelly was murdered within the sparsely furnished single room she rented at 13 Miller's Court, affording her murderer an extensive period of time to eviscerate and mutilate her body. Kelly's body was by far the most extensively mutilated of the canonical victims, with her mutilations taking her murderer approximately two hours to perform.


title: Mary Jane Kelly

text: Compared with the other four canonical Ripper victims, Mary Kelly's origins are obscure and undocumented, and much of this information is possibly embellished. Kelly may have fabricated many details of her early life as there is no corroborating documentary evidence, but there is no evidence to the contrary either. According to Joseph Barnett, the man she had most recently lived with prior to her murder, Kelly had told him she was born in Limerick, Ireland, in around 1863—although whether she referred to the city or the county is not known—and that her family moved to Wales when she was a child.


title: Mary Jane Kelly

text: Kelly is known to have claimed to one acquaintance that her parents had disowned her, although she remained on close terms with her sister. She described her family to Barnett as moderately wealthy, and both he and a reported former landlady of Kelly's, Mrs Carthy, claimed that Kelly came from a family of "well-to-do people". Barnett reported that Kelly had informed him her father was named John Kelly and that he worked in an ironworks in either Caernarfonshire or Carmarthenshire. Barnett also recalled Kelly mentioning having seven brothers and at least one sister. One brother, named Henry, supposedly served in the 2nd Battalion Scots Guards. She once stated to a friend named Lizzie Albrook that a female family member was employed at the London theatrical stage. Her landlord, John McCarthy, also claimed that Kelly received infrequent correspondence from Ireland.


title: Mary Jane Kelly

text: Carthy described Kelly as being "an excellent scholar and an artist of no mean degree". However, at the inquest into Kelly's murder, Barnett informed the coroner that in the months prior to her murder, she had often asked him to read newspaper reports of the Whitechapel murders to her, suggesting that she was illiterate.


title: Mary Jane Kelly

text: Newspaper accounts dating from November 1888 claim Kelly was known as "Mary McCarthy", which may have been a mix up with either the surname of her landlord at the time of her death or the surname of a previous landlady with whom she had lived until about 1886.


title: Mary Jane Kelly

text: Kelly has been reported as being a blonde or redhead, although her nickname "Black Mary" may suggest she had dark hair. Her eyes were blue. To some, Kelly was known as "Fair Emma", although it is unknown whether this applied to her hair colour, her skin colour, her beauty, or other qualities. Some contemporary newspapers report she was nicknamed "Ginger" after her hair (though sources disagree even on this point, thus leaving a description of hair colour ranging from ash blonde to dark chestnut).


title: Mary Jane Kelly

text: Contemporary reports estimated Kelly's height at 5 feet 7 inches (1.70 metres). Detective Walter Dew, in his autobiography, claimed to have known Kelly well by sight. He described her as "quite attractive" and "a pretty, buxom girl". According to Dew, she always wore a clean white apron but never a hat. Sir Melville Macnaghten of the Metropolitan Police Force (who never saw Kelly prior to her death) reported that she was known to have "considerable personal attractions" by the standards of the time. The "Daily Telegraph" of 10 November 1888 described her as "tall, slim, fair, of fresh complexion, and of attractive appearance".


title: Mary Jane Kelly

text: When Kelly was aged approximately 16 in about 1879, she reportedly married a coal miner named Davis or Davies, who was killed two or three years later in a mining explosion. Without any means of financial support, Kelly relocated to Cardiff, where she lived with a cousin. Although there are no contemporary records of Kelly's presence in Cardiff, it is at this stage in her life that Kelly is considered to have begun her career as a prostitute, possibly being introduced to this profession by her cousin. No South Wales Police records exist to indicate Kelly was arrested for prostitution.


title: Mary Jane Kelly

text: In 1884, Kelly apparently left Cardiff and relocated to London, where she briefly worked for a tobacconist in Chelsea before securing employment as a domestic servant while lodging in Crispin Street, Spitalfields. The following year, Kelly is believed to have relocated to the central London district of Fitzrovia.


title: Mary Jane Kelly

text: Via her acquaintance with a young French woman whom Kelly had met in Knightsbridge, she found work in a high-class brothel in the more affluent West End of London. She became one of the brothel's most popular girls and spent her earnings on expensive clothing and hiring a carriage. Reportedly, Kelly was invited by a client named Francis Craig to France, but returned to England within approximately two weeks, having disliked her life there. However, by the time of her return to London, Kelly had adopted the French name "Marie Jeanette".


title: Mary Jane Kelly

text: In 1885, Kelly briefly resided with a Mrs Buki in lodgings located near the London Docks North Quay. In the brief period of time she lodged with Buki, the two are known to have visited the home of a French lady living in Knightsbridge to demand the return of a box of expensive dresses belonging to Kelly. This information suggests Kelly's descent into East End life was markedly rapid and may have been influenced by her efforts to avoid retribution from a procurer. It is also believed to be at this stage in her life when Kelly began drinking heavily.


title: Mary Jane Kelly

text: After leaving Buki's residence, Kelly lodged with a Mrs Carthy in Breezer's Hill, Ratcliffe Highway. According to this landlady, Kelly lived at her residence between 1885 and 1886, and she had left her residence to live with a builder whom Mrs Carthy later stated believed would have married her. Gravitating toward the poorer areas of the East End, Kelly reportedly lived with a man named Morganstone near the Commercial Gas Works in Stepney and later with a mason's plasterer named Joseph Flemming.


title: Mary Jane Kelly

text: By 1886, Kelly was residing at Cooley's Lodging House in Thrawl Street, Spitalfields. On 8 April 1887, she became acquainted with 28-year-old Joseph Barnett, whom she first encountered on Commercial Street. Barnett—who worked as a fish porter at Billingsgate Market—took Kelly for a drink before arranging to meet her the following day.


title: Mary Jane Kelly

text: The two agreed to live together upon their second meeting on 9 April. Initially, Barnett and Kelly lodged in George Street, close to Commercial Street. They later took lodgings in Little Paternoster Row, but were soon evicted for non-payment of rent and drunk and disorderly conduct. They later took lodgings in Brick Lane, before relocating to Miller's Court, off Dorset Street, in either February or March 1888.


title: Mary Jane Kelly

text: In early 1888, Kelly and Barnett moved into 13 Miller's Court, a small, sparsely furnished single room at the back of 26 Dorset Street, Spitalfields. This room had once been the back parlour of 26 Dorset Street and was partitioned by a wooden wall. The weekly rent for this room was 4s 6d.


title: Mary Jane Kelly

text: Number 13 Miller's Court was a single twelve-foot square room, with a bed, three tables and a chair. Above the fireplace hung a print of "The Fisherman's Widow", and a small tin bath was beneath the bed. Two irregularly sized windows faced the yard, in which the dustbin and water tap serving the property were located, and the door opened directly into the twenty-six-foot-long arched passageway which connected Miller's Court with Dorset Street. This door was illuminated at night by a gas lamp located almost directly opposite the door to the property.


title: Mary Jane Kelly

text: Kelly had lost her door key, instead bolting and unbolting the door from outside by putting a hand through a broken window beside the door. A German neighbour, Julia Venturney, claimed Kelly had broken this window when drunk, and that a man's coat was frequently placed in this broken windowpane to both act as a curtain and prevent draught from entering the room.


title: Mary Jane Kelly

text: According to Kelly's friend and neighbour, Lizzie Albrook, Kelly was "heartily sick" of the life she was leading by 1888 and wished to return to Ireland "where her people lived". Her landlord, John McCarthy, later recollected: "She was a very quiet woman when sober but noisy when in drink." When drunk, Kelly would often be heard singing Irish songs, although when intoxicated, she would often become quarrelsome and even abusive to those around her, which earned her the nickname "Dark Mary".


title: Mary Jane Kelly

text: Barnett lost his employment as a fish porter in July 1888, reportedly due to committing theft. As a result, Kelly again resorted to prostitution. According to Barnett, she began to allow other prostitutes to sleep in their room on "cold, bitter nights" as she did not have the heart to refuse them shelter. Initially, Barnett was tolerant of this until he and Kelly quarrelled over her sharing the room with a prostitute he knew only as "Julia". Barnett subsequently left 13 Miller's Court on 30 October, more than a week before her death, taking lodgings at 24–25 New Street, Bishopsgate. Nonetheless, between 1 and 8 November, Barnett visited Kelly on an almost daily basis, occasionally giving her money.


title: Mary Jane Kelly

text: Barnett visited Kelly for the last time between 7 and 8 p.m. on 8 November. He found her in the company of a friend of hers named Maria Harvey. Barnett did not stay at the property for long and apologised for having no money to give her. Both he and Harvey left Miller's Court at about the same time. Barnett returned to his lodging house, where he played cards with other residents until falling asleep at about 12:30 a.m. Shortly before Barnett left Miller's Court, Lizzie Albrook also visited Kelly. She later recollected that Kelly was sober, and one of the last things she had said to her was: "Whatever you do, don't you do wrong and turn out as I have." In the early evening, Kelly is known to have had one drink in the Ten Bells public house with a woman named Elizabeth Foster. Later that evening, Kelly was seen drinking with two acquaintances at the Horn of Plenty pub on Dorset Street.


title: Mary Jane Kelly

text: Fellow Miller's Court resident and prostitute, 31-year-old Mary Ann Cox, who described herself as "a widow and unfortunate", reported seeing Kelly returning home drunk and in the company of a stout, ginger-haired man, aged approximately 36, at 11:45 p.m. This man was wearing a black felt bowler hat, had a thick moustache, blotches on his face, and was carrying a can of beer. Cox and Kelly wished each other goodnight, with Kelly adding, "I am going to have a song." Kelly then entered her room with the man, who closed the door as Cox returned to her own lodgings at 5 Miller's Court. Kelly was then heard singing the song "A Violet from Mother's Grave." She was still singing when Cox left her lodgings at midnight, and when she returned approximately one hour later, at 1 a.m. Elizabeth Prater resided in the room directly above Kelly. When she went to bed at 1:30 a.m., the singing had stopped.


title: Mary Jane Kelly

text: Unemployed labourer George Hutchinson, who knew Kelly, reported the two had met at about 2 a.m. on 9 November on Flower and Dean Street and that Kelly asked him for a loan of sixpence. Hutchinson claimed to be broke, having spent his money in Romford the previous day. He later stated that as Kelly walked in the direction of Thrawl Street she was approached by a man of "Jewish appearance" and aged about 34 or 35. Hutchinson claimed he was suspicious of this man because, although Kelly seemed to know him, this individual's opulent appearance made him a suspicious character to be in the neighbourhood. The man had also made an obvious effort to disguise his features from Hutchinson by "[hiding] down his head with his hat over his eyes" as the two had passed him.


title: Mary Jane Kelly

text: Hutchinson later provided the police with an extremely detailed description of the man right down to the colour of his eyelashes despite it being the early hours of the morning. He reported that he overheard them talking in the street opposite the court where Kelly was living; Kelly complained of losing her handkerchief, and the man gave her a red one of his own. Hutchinson claimed that he then heard Kelly state: "Alright my dear, come along. You will be comfortable." She and the man walked into 13 Miller's Court, and Hutchinson followed them. He saw neither one of them again, laying off his watch at about 2:45 a.m.


title: Mary Jane Kelly

text: Hutchinson's statement appears to be partly corroborated by a laundress named Sarah Lewis, who reported that as she walked towards the courtyard at 2:30 a.m. to spend the night with her friends, the Keylers, who resided at 2 Miller's Court, she had observed two or three people standing near the Britannia pub, including a respectably dressed young man with a dark moustache talking with a woman. Both appeared to be drunk. A poorly dressed and hatless young woman also stood nearby. Opposite Miller's Court, Lewis observed a "stout-looking and not very tall" man standing at the entrance to the courtyard, observing the entranceway. As Lewis passed this man, she observed a man in the company of an obviously drunk woman further up the courtyard. Lewis was adamant as to the timing of these sightings as she recalled hearing the chiming of the Spitalfields Church clock.


title: Mary Jane Kelly

text: Shortly after 1 a.m., Mary Ann Cox again left her room. She returned to her home at approximately 3 a.m. Cox reported hearing no sound and seeing no light from Kelly's room at this time, although she thought she heard someone leaving the residence at about 5:45 a.m.


title: Mary Jane Kelly

text: Elizabeth Prater, who resided in the room directly above Kelly's and who had been awoken by her kitten walking over her neck, and Sarah Lewis, who had slept at number 2 Miller's Court on 8–9 November, both reported hearing a faint cry of "Murder!" between 3:30 a.m. and 4 a.m., but did not react because they reported that it was common to hear such cries in the East End. Lewis described this cry as "only one scream. I took no notice of it". She claimed not to have slept and to have heard people moving in and out of the court throughout the night. Prater did leave her room at approximately 5:30 a.m., to walk to the Ten Bells pub for a drink of rum. She saw nothing suspicious.


title: Mary Jane Kelly

text: On the morning of 9 November 1888, the day of the annual Lord Mayor's Day celebrations, Kelly's landlord, John McCarthy, sent his assistant, ex-soldier Thomas Bowyer, to collect the rent. Kelly was six weeks behind on her payments, owing 29 shillings. Shortly after 10:45 a.m., Bowyer knocked on her door but received no response. He then attempted to turn the handle, only to discover the door was locked. Bowyer then looked through the keyhole, but could not see anybody in the room. Pushing aside the clothing used to plug the broken windowpane and the muslin curtains which covered the windows, Bowyer peered inside the room—discovering Kelly's extensively mutilated corpse lying on the bed. She is believed to have died between three and nine hours before the discovery of her body.


title: Mary Jane Kelly

text: Bowyer ran to report his discovery to McCarthy, who first verified his claims, then instructed Bowyer to inform the Commercial Street Police Station. Bowyer ran to the police station, stammering the words: "Another one. Jack the Ripper. Awful. [John] McCarthy sent me" to Inspector Walter Beck. Beck accompanied Bowyer to Miller's Court, and immediately requested the assistance of police surgeon George Bagster Phillips. He also gave orders preventing any individuals from entering or exiting the yard. Beck also arranged for news of the murder to be telegraphed to Scotland Yard, and requested the assistance of bloodhounds. The scene was attended by Superintendent Thomas Arnold and Inspector Edmund Reid from Whitechapel's H Division, as well as Frederick Abberline and Robert Anderson from Scotland Yard, who arrived at the crime scene between 11:30 a.m. and 1 p.m.


title: Mary Jane Kelly

text: News of the discovery of another Ripper victim spread rapidly throughout the East End. Crowds estimated to number over 1,000 gathered at each end of Dorset Street, with many members of the public voicing their frustration and indignation at the news.


title: Mary Jane Kelly

text: Arnold ordered the room broken into at 1:30 p.m. after the possibility of tracking the murderer from the room with bloodhounds was dismissed as impractical. A fire fierce enough to melt the solder between a kettle and its spout had burnt in the grate, apparently fuelled with women's clothing. Inspector Abberline thought Kelly's clothes were burnt by the murderer to provide light, as the room was otherwise only dimly lit by a single candle Kelly had purchased on 7 November.


title: Mary Jane Kelly

text: After two official crime scene photographs had been taken, Kelly's body was taken from Miller's Court to the mortuary in Shoreditch, where her body was formally identified by Joseph Barnett, who was only able to recognise Kelly's body by "the ear and the eyes". John McCarthy also viewed the body at the mortuary and was also certain the deceased was Kelly.


title: Mary Jane Kelly

text: The mutilation of Kelly's corpse was by far the most extensive of any of the Whitechapel murders, likely because the murderer had more time to commit his atrocities in a private room, without fear of discovery over an extensive period of time, as opposed to in public areas. The autopsy of Kelly's body took two-and-a-half-hours to complete.


title: Mary Jane Kelly

text: Thomas Bond and George Bagster Phillips examined the body. Phillips and Bond timed her death to about 12 hours before the examination. Phillips suggested that the extensive mutilations would have taken two hours to perform, and Bond noted that rigor mortis set in as they were examining the body, indicating that death occurred between 2 and 8 a.m. Bond's official documents pertaining to his examination of the decedent, the crime scene, and subsequent post-mortem state:


title: Mary Jane Kelly

text: Phillips believed that Kelly had been killed by a slash to the throat and the mutilations performed afterward. Bond stated in a report that the knife used was about wide and at least long, but did not believe that the murderer had any medical training or knowledge. He wrote:


title: Mary Jane Kelly

text: The official inquest into Kelly's death was opened at the Shoreditch Town Hall on Monday 12 November. This inquest was presided over by the coroner for North East Middlesex, Roderick Macdonald, MP. The jury were duly sworn before being taken by Inspector Abberline to both view Kelly's body at the mortuary adjoining Shoreditch Church and the crime scene in Miller's Court. After approximately one hour, the jurors reconvened at Shoreditch Town Hall to hear witness testimony.


title: Mary Jane Kelly

text: The first witness to testify was Joseph Barnett, who testified he had lived with Kelly for "one year and eight months" before the two had separated following a quarrel on 30 October over her allowing "a woman of bad character" to stay in her room, whom Kelly had "took in out of compassion". Barnett explained that, despite this argument, he had remained on good terms with Kelly in the week following their separation, and that he had last seen her alive at approximately 7:45 p.m. on 8 November. On the final occasion he had seen Kelly, she had been "quite sober".


title: Mary Jane Kelly

text: Discussing Kelly's background, Barnett related her Irish origins, her marriage at age 16 and subsequent relocation to Cardiff following the death of her husband. Barnett also emphasised his belief Kelly's cousin was the source of her leading a life of prostitution, stating: "She was following a bad life with her cousin, who, as I reckon, and as I often told her, was the cause of her downfall."


title: Mary Jane Kelly

text: Following Barnett's testimony, Thomas Bowyer recounted his discovery of Kelly's body on 9 November. Bowyer stated he had first observed two pieces of flesh on the bedside table, then seen Kelly's extensively mutilated body. He had "at once went very quietly" to John McCarthy to inform him of his discovery. McCarthy had himself looked through the broken windowpane to verify Bowyer's discovery before the two had separately proceeded to the nearest police station to report their discovery.


title: Mary Jane Kelly

text: Bowyer's testimony was then corroborated by McCarthy, who stated Bowyer had informed him: "Guv'nor, I knocked at the door, and could not make anyone answer. I looked through the window and saw a lot of blood." The two had reported their discovery to Inspector Reid at Commercial Street Police Station. McCarthy stated Kelly's rent was in arrears by 29 shillings. In discussing her character, McCarthy described Kelly as an "exceptionally quiet woman" when sober, but that "when in drink she had a lot more to say".


title: Mary Jane Kelly

text: Mary Ann Cox also testified at the inquest. Cox testified she had known Kelly for eight or nine months, and that she had last seen her alive in Dorset Street at 11:45 p.m. on 8 November, "very much intoxicated". She had been wearing a red pelerine and a shabby skirt. Cox stated she had been in the company of a short, stout and shabbily dressed man who had a pot of ale in his hand. She had not heard any sound from Kelly's room when she had returned to her own room at 5 Miller's court at 3 a.m. The next witness to testify, Elizabeth Prater, stated she had heard a "suppressed cry" of "Oh! Murder!" at approximately 3:45 a.m., although she stated such cries were commonplace in and around Spitalfields. Also to testify were witnesses Caroline Maxwell and Sarah Lewis. Maxwell testified to having seen Kelly alive on the morning of 9 November; Lewis testified to having seen a stout man in a black wideawake hat standing in the courtyard in the early hours and to hearing a woman cry "Murder!" at "nearly four".


title: Mary Jane Kelly

text: Shortly after Lewis's testimony, Phillips testified as to his examination of the body at 13 Miller's Court. He said he arrived at the crime scene at 11:45 a.m., and examined the body at 1:30 p.m. Kelly was lying "two-thirds over, towards the edge of the bedstead" and Phillips was certain the murderer had moved her body to perform the eviscerations. The initial attack had taken place as Kelly had lain on the right side of the bed, and the cause of her death was the severance of her right carotid artery. This conclusion was supported by a large quantity of blood under the bedstead and the palliasse, pillow and sheet at the top of the bed being saturated with blood. Blood spatterings on the wall on the right side of the bed in line with Kelly's neck also supported this conclusion.


title: Mary Jane Kelly

text: Phillips estimated Kelly's death occurred between 2 a.m. and 8 a.m. Her last meal consisted of fish and potatoes, which had partly passed into her intestines, indicating she had last eaten between 10 p.m. and 11 p.m on 8 November. The superficial cut to her right thumb might have been caused while attempting to defend herself. The blade used for the mutilations was at least six inches (15cm) long and one inch (25mm) wide.


title: Mary Jane Kelly

text: Following further eyewitness and character testimony from Julia Venturney and Maria Harvey, Inspectors Beck and Abberline testified about their response and examination of the crime scene. Beck testified to the orders he had given for a police surgeon to attend the scene, his efforts to retrieve evidence, and his orders forbidding any members of the public from entering Miller's Court, or for residents to leave until all had been questioned. Abberline testified Superintendent Arnold had ordered the door of Kelly's room to be forced open with a pickaxe at 1:30 p.m. He also testified as to his examination of the room, adding his opinion the extensive amount of clothing in the fireplace had been burned by Kelly's murderer to provide sufficient light for him to mutilate her body, as the sole source of light in her room had been a single candle placed on top of a broken wine glass.


title: Mary Jane Kelly

text: Abberline was the last of 12 witnesses to testify at the inquest, and the hearings were completed in a single day. At the close of the hearings, Macdonald instructed the jury whether they should adjourn to hear further testimony at a later date, or close the procedures. He said: "My own opinion is that it is very unnecessary for two courts to deal with these cases, and go through the same evidence, time after time, which only causes expense and trouble. If the coroner's jury can come to a decision as to the cause of death, then that is all that they have to do ... From what I learn, the police are content to take the future conduct of the case. It is for you to say whether you will close the inquiry today; if not, we shall adjourn for a week or fortnight, to hear the evidence that you may desire."


title: Mary Jane Kelly

text: Following a short deliberation, the jury returned a unanimous verdict: "Wilful murder against some person or persons unknown."


title: Mary Jane Kelly

text: Kelly's death certificate was issued on 17 November. This document records her name as "Marie Jeanette Kelly" and lists her age as "about 25 years".


title: Mary Jane Kelly

text: Police conducted extensive house-to-house enquiries and searches. The wife of a local lodging-house deputy, Caroline Maxwell, claimed to have seen Kelly alive at about 8:30 a.m. on the morning of her murder, although she admitted to having only met Kelly on one or two previous occasions; moreover, her description did not match that of those who knew Kelly more closely. Maurice Lewis, a tailor, reported seeing Kelly at about 10 o'clock that same morning in a pub. Both statements were dismissed by the police since they did not fit the officially estimated time of death; moreover, they could find no other eyewitnesses to confirm these reports. Maxwell may have either mistaken someone else for Kelly or confused the actual day she had seen her.


title: Mary Jane Kelly

text: On 10 November, Bond wrote a report officially linking Kelly's murder with four previous ones to occur in and around Whitechapel—those of Mary Ann Nichols, Annie Chapman, Elizabeth Stride and Catherine Eddowes. Bond also provided an offender profile of the murderer, which suggested the perpetrator was a solitary, eccentric individual who was subject to periodic attacks of homicidal and erotic mania, and who had been in an extreme state of satyriasis as he performed the mutilations upon Kelly and the four previous victims. On the same day, the Commissioner of the Metropolitan Police, Sir Charles Warren, issued a pardon for "any accomplice, not being a person who contrived or actually committed the murder, who shall give such information and evidence as shall lead to the discovery and conviction of the person or persons who committed the murder [of Mary Jane Kelly]". Despite this offer, no-one was ever charged with any of the murders.


title: Mary Jane Kelly

text: No murders with a similar "modus operandi" were committed for over six months, as a result of which the police investigation into the Ripper murders was gradually wound down and press interest declined. Kelly is generally considered to have been the Ripper's final victim, and it is assumed that the crimes ended because of the culprit's death, imprisonment, institutionalisation, or emigration.


title: Mary Jane Kelly

text: The detective in charge of the investigation, Frederick Abberline, questioned Kelly's former partner and roommate, Joseph Barnett, for four hours after her murder. His clothes were also examined for bloodstains, but he was released without charge. Abberline's investigation appears to have completely exonerated Barnett.


title: Mary Jane Kelly

text: A century after the murder, authors Paul Harrison and Bruce Paley proposed Barnett killed Kelly in a fit of jealous rage, possibly because she had scorned him. Harrison and Paley also suggested that he committed the previous murders to scare Kelly off the streets and away from prostitution. Other authors suggest Barnett killed Kelly only and had extensively mutilated her body to make the crime resemble a Ripper murder. The state of undress of Kelly's body, and her folded clothes on a chair, have led to suggestions that she undressed herself before lying down on the bed, which would indicate that she was either killed by someone she knew or believed to be a client.


title: Mary Jane Kelly

text: The door to Kelly's property was locked after her murder, indicating the murderer either had possession of the key or knew how to reach through the broken windowpane to lock and unlock the door. However, the perpetrator would likely have observed Kelly reaching through the windowpane to unlock the door prior to inviting him into the room.


title: Mary Jane Kelly

text: Other acquaintances of Kelly's put forward as her murderer include her landlord John McCarthy and her former boyfriend Joseph Fleming.


title: Mary Jane Kelly

text: George Hutchinson only provided his eyewitness information to Sgt Edward Badham on 12 November. Inspector Abberline described Hutchinson's statement as important to the investigation. Hutchinson unsuccessfully accompanied police around Whitechapel and Spitalfields in efforts to identify this man. Hutchinson's name does not appear again in the existing police records, and so it is not possible to say with certainty whether his evidence was ultimately dismissed, disproven, or corroborated.


title: Mary Jane Kelly

text: In his memoirs, Walter Dew discounts Hutchinson on the basis that his sighting may have been on a different day, and not the morning of the murder. Robert Anderson, head of the CID, later claimed that the only witness who got a good look at the killer was a Jew who had observed a previous victim with her murderer. Hutchinson was not a Jew, and thus not that witness. Some modern scholars have suggested that Hutchinson was the Ripper himself, trying to confuse the police with a false description, but others suggest he may have just been an attention seeker who made up a story he hoped to sell to the press.


title: Mary Jane Kelly

text: A small minority of modern authors consider it possible that Kelly was not a victim of the same killer as the other canonical victims of Jack the Ripper. At an assumed age of 25, Kelly was considerably younger than the other canonical victims, all of whom were in their 40s. In addition, the mutilations inflicted on Kelly were far more extensive than those on other victims. However, Kelly was also the only victim killed in the privacy of a room instead of outdoors. Her murder was separated by five weeks from the previous killings, all of which had occurred within the span of a month.


title: Mary Jane Kelly

text: Writer Mark Daniel proposed that Kelly's murderer was a religious maniac, who killed Kelly as part of a ritual sacrifice, and that the fire in the grate was not to provide light but was used to make a burnt offering. In 1939, author William Stewart proposed that Kelly was killed by a deranged midwife, dubbed "Jill the Ripper", whom Kelly had engaged to perform an abortion. According to Stewart, the murderer had burned her own clothes in the grate because they were bloodstained and had then made her escape wearing Kelly's clothes. This, he suggested, was why Caroline Maxwell had claimed to have seen Kelly the morning of her murder, and that Maxwell had actually seen the killer dressed in Kelly's clothes. However, the medical reports, which were not available when Stewart constructed his theory, make no mention of pregnancy, and the theory is entirely based on speculation.


title: Mary Jane Kelly

text: In 2005, author Tony Williams claimed that Mary Kelly had been found on the 1881 census return for Brymbo, near Wrexham, Wales. This claim was made on the basis that living next door to the Kelly family was a bachelor named Jonathan Davies, who could have been the "Davies" or "Davis" whom Joseph Barnett claimed had married Kelly when she was approximately 16. This claim is almost certainly wrong because if Kelly's husband was indeed killed two or three years later, this Jonathan Davies could not have been him, as the 1891 census return indicates this individual was still alive and residing in Brymbo. In any case, hardly any of the details given by Barnett matched those of the family residing in Brymbo in 1881. Brymbo is in Denbighshire, not Carmarthen or Caernarfon, and the father's name was Hubert Kelly, not John. Allegations that the diaries of Sir John Williams, on which Tony Williams based his research and whom he claims was the Ripper, were altered casts further doubt upon this author's theories.


title: Mary Jane Kelly

text: Mary Jane Kelly was buried at 2 p.m. Monday 19 November 1888. She was laid to rest in St Patrick's Roman Catholic Cemetery in Leytonstone in a service officiated by the Reverend Father Columban.


title: Mary Jane Kelly

text: No family members could be located to attend her funeral, and both Joseph Barnett and her landlord, John McCarthy, were insistent her remains were interred in accordance with the rituals of her Church. The eight individuals within the two mourning coaches following Kelly's polished elm and oak coffin from Shoreditch Church to the cemetery where she was buried were Joseph Barnett, an individual representing John McCarthy, and six women who had known Kelly and who had testified at the inquest into her murder: Mary Ann Cox; Elizabeth Prater; Caroline Maxwell; Sarah Lewis; Julia Venturney; and Maria Harvey. Several thousand people gathered outside Shoreditch Church to observe the funeral procession. Kelly's obituary ran as follows:


title: Mary Jane Kelly

text: The inscription upon Kelly's grave marker reads: "In loving memory of Marie Jeanette Kelly. None but the lonely hearts can know my sadness. Love lives forever."


title: Glendale, California

text: Glendale is a city in the San Fernando Valley and Verdugo Mountains regions of Los Angeles County, California, United States. At the 2020 U.S. Census the population was 196,543, up from 191,719 at the 2010 census, making it the fourth-largest city in Los Angeles County and the 24th-largest city in California. It is located about north of downtown Los Angeles.


title: Glendale, California

text: Glendale lies in the Verdugo Mountains, and is a suburb in the Los Angeles metropolitan area. The city is bordered to the northwest by the Sun Valley and Tujunga neighborhoods of Los Angeles; to the northeast by La Cañada Flintridge and the unincorporated area of La Crescenta; to the west by Burbank and Griffith Park; to the east by Eagle Rock and Pasadena; to the south by the Atwater Village neighborhood of Los Angeles; and to the southeast by Glassell Park neighborhood of Los Angeles. The Golden State, Ventura, Glendale, and Foothill freeways run through the city.


title: Glendale, California

text: In 1798, José María Verdugo, a corporal in the Spanish army from Baja California, received the Rancho San Rafael from Governor Diego de Borica, formalizing his possession and use of land on which he had been grazing livestock and farming since 1784. Rancho San Rafael was a Spanish concession, of which 25 were made in California. Unlike the later Mexican land grants, the concessions were similar to grazing permits, with the title remaining with the Spanish crown.


title: Glendale, California

text: New Spain achieved its independence from the Spanish Empire in 1821, and from 1824, Rancho San Rafael existed within the new Mexican Republic.


title: Glendale, California

text: Mexican rule ended during the Mexican–American War: Americans took control from the Californios after a series of battles, culminating with the signing of the Treaty of Cahuenga on January 13, 1847. With the cession of California to the United States following the Mexican–American War, the 1848 Treaty of Guadalupe Hidalgo provided that the land grants would be honored. As required by the Land Act of 1851, a claim was filed with the Public Land Commission in 1852, confirmed by the Commission in 1855, and the grant was patented to Julio and Catalina Verdugo in 1882.


title: Glendale, California

text: In 1860, José María Verdugo's grandson Teodoro Verdugo built the Catalina Verdugo Adobe, which is the oldest building in Glendale. The property is the location of the Oak of Peace, where early Californio leaders including Pio Pico met in 1847 and decided to surrender to Lieutenant Colonel John C. Frémont.


title: Glendale, California

text: Verdugo's descendants sold the ranch in various parcels, some of which are included in present-day Atwater Village, Eagle Rock, and Highland Park neighborhoods of Los Angeles.


title: Glendale, California

text: In 1883, soon after Atwater Village was settled, the Atwater Tract Office brought train service to the area. In 1884, residents gathered to form a townsite and chose the name "Glendale". It was bounded by First Street (now Lexington Drive) on the north, Fifth Street (now Harvard Street) on the south, Central Avenue on the west, and the Childs Tract on the east. Residents to the southwest formed "Tropico" in 1887.


title: Glendale, California

text: An important civic booster of the era was Leslie Coombs Brand (1859–1925), who built an estate in 1904 called El Miradero, featuring an eye-catching mansion, the architecture of which combined characteristics of Spanish, Moorish, and Indian styles, copied from the East Indian Pavilion at the 1893 World's Columbian Exposition held in Chicago, which he visited.


title: Glendale, California

text: Brand partnered with Henry E. Huntington to bring the Pacific Electric Railway, or the "Red Cars", to the area. The Glendale–Burbank Line, which was operational from 1904 to 1955, ran from Downtown Los Angeles to Burbank via Glendale. The dual-track streetcars entered the Glendale city limit by crossing San Fernando Road, and the line continued northerly in the pavement of Brand Boulevard, crossing Los Feliz Boulevard, Chevy Chase Boulevard, Colorado Boulevard, Broadway and Lexington Drive. The main line continued north to Verdugo Wash where the line became a single track. At Arden Junction at Glenoaks Boulevard, the line branched. The old main line continued north in the pavement of Brand Boulevard to a terminus in North Glendale at Mountain Avenue. The Burbank Line diverged westerly as a single-track line on private way in the center of Glenoaks Boulevard, then continued westerly past Central, Pacific, Highland, western, and Alameda Avenues to a terminus in Burbank at Cypress Avenue.


title: Glendale, California

text: Brand loved to fly, and built a private airstrip in 1919 and hosted "fly-in" parties, providing a direct link to the soon-to-be-built nearby Grand Central Airport. The grounds of El Miradero are now city-owned Brand Park and the mansion is the Brand Library, according to the terms of his will.


title: Glendale, California

text: The Forest Lawn Cemetery opened in 1906 and was renamed Forest Lawn Memorial-Park in 1917. Pioneering endocrinologist and entrepreneur Henry R. Harrower opened his clinic in Glendale in 1920, which for many years was the largest business in the city.


title: Glendale, California

text: In 1922, the Atwater Tract Office was demolished, and construction began on the Glendale Transportation Center.


title: Glendale, California

text: The American Green Cross, an early conservation and tree preservation society, was formed in 1926 (it disbanded three years later and the current organization of that name is unrelated).


title: Glendale, California

text: Grand Central Airport was the departure point for the first commercial west-to-east transcontinental flight flown by Charles Lindbergh.


title: Glendale, California

text: Until as late as the 1960s, Glendale was a sundown town. Nonwhites were required to leave city limits by a certain time each day or risk arrest and possible violence. In the 1930s, Glendale and Burbank prevented the Civilian Conservation Corps from stationing African American workers in a local park, citing sundown town ordinances that both cities had adopted. In 1964, Glendale was selected by George Lincoln Rockwell to be the West Coast headquarters of the American Nazi Party. After a legal battle with the city of Glendale, the party moved their headquarters to El Monte in 1966.


title: Glendale, California

text: Glendale began its historic preservation program in 1977 with the designation of 28 properties as city landmarks. In 1997, the program evolved with the establishment of the Glendale Register of Historic Resources. The register now has over 100 properties. In addition, 11 properties in Glendale are listed on the National Register of Historic Places. The city's most honored historic properties include the Catalina Verdugo Adobe, Brand Library & Art Center, Glendale Southern Pacific Railroad Depot, Grand Central Air Terminal, and Alex Theatre.


title: Glendale, California

text: Glendale is located in the southeastern San Fernando Valley. According to the United States Census Bureau, the city has a total area of ; of it is land and of it (0.43%) is covered by water. Glendale is the fourth largest city within Los Angeles County. It is bordered to the north by the foothill communities of La Cañada Flintridge, La Crescenta, and Tujunga; to the south by the Atwater Village and Glassell Park communities incorporated by the city of Los Angeles; to the east by Pasadena and Eagle Rock (also incorporated within Los Angeles); and to the west by Griffith Park and the city of Burbank. Glendale is located north of downtown Los Angeles.


title: Glendale, California

text: Several known earthquake faults criss-cross the Glendale area and adjacent mountains, as in much of Southern California. Among the more recognized faults are the Sierra Madre and Hollywood faults, situated in the city's northern and southwestern portions, respectively. Additionally, the Verdugo and Raymond faults intersect through the city's central and southeastern areas. The San Gabriel fault, meanwhile, is located northeast of the city. Roughly northeast of Glendale is a major portion of the San Andreas Fault known as the "Big Bend", where quake-recurrence tracking shows major activity roughly every 140–160 years. The closest portion of the San Andreas is actually from Glendale. The last major quake along the southern San Andreas was recorded in 1857.