Criminal - The Unknown Woman

Episode Date: June 16, 2023

When a toymaker and a doctor teamed up to make the world’s first CPR doll, they decided to make the doll’s face look like one specific woman – a woman who they thought had drowned. People call her l’Inconnue de la Seine, or the Unknown Woman of the Seine. Say hello on Twitter, Facebook and Instagram. Sign up for our occasional newsletter, The Accomplice. Follow the show and review us on Apple Podcasts: iTunes.com/CriminalShow. Listen back through our archives at youtube.com/criminalpodcast.  We also make This is Love and Phoebe Reads a Mystery. Artwork by Julienne Alexander. Episode transcripts are posted on our website. Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Please use discretion. Start from the top. You just saw somebody clap. Oh, I saw someone clap. Okay. So I say, are you okay? They don't respond. So you're going to call for help because you need help coming towards you.

Okay. Then you're going to start doing chest. And I would just tell them, don't worry, I'm calling for help. I'm not the only thing that's going to help you. Right. Maybe that would keep them alive. Okay, and then? Then we're going to go at a rate of about 100 to 120 per minute.

The tune is staying alive. It is real familiar. But go ahead and let's start mashing up and down on the chest. Keep going a little faster, a little faster, a little faster. Not too fast. Ah, ah, ah, ah, staying alive, staying alive. Doing great CPR. Does it require more force than you thought?

Well, you know, the thing about it is that you actually, it's a lot of work. Tracy Stell teaches life support and CPR. He's a nurse at Duke Hospital, where they train around 1,200 people a month. So we teach adult CPR, infant CPR, child CPR, and AED use in our basic life support class. And we are surrounded by a lot of dummies. Yeah.

There's even mannequins in hospital beds. I mean, and there's little babies. Mm-hmm. Tell me about this doll. Well, she's... She's kind of a vintage looking... She is. She's had a long life.

We went to the hospital to see one CPR mannequin in particular, a doll named Annie. Because of something we'd heard, that Annie was based on a real woman. I'm Phoebe Judge. This is Criminal. Annie was the first CPR doll ever made. Michael Jackson references her in his song Smooth Criminal with the lyrics, Annie, are you okay? We heard about Annie while working on our last episode about the Freedom House paramedics in Pittsburgh. Did you ever hear that story that in the old days that they would turn

you on your chest and flap your arms behind you like a bird? Yep. What do you think about, do you think that was effective? Probably not as effective as what we know now, but in the older days there wasn't a lot of science and, you know, studies and results that were shown to be effective or not effective. So lots of times people did what seemed to make sense. If I got strangled, my mama would hold my arm up over my head. Really? What was that going to do? Made her feel better. According to a recent survey, around half of all Americans say they know how to do CPR,

but the number of people that actually know the right way to do it is a lot smaller. In Durham County, where he works, Tracy Stell estimates that people start CPR before help arrives less than 5% of the time. Sometimes, 911 dispatchers will try to walk people through it over the phone. He says that if you see someone who's unresponsive, you should start CPR even before checking for a pulse. Because if they're not in cardiac arrest and they open their eyes and say, what are you doing? Then you'll stop. You know, they move an arm, they move a leg, they take a breath, you would stop. But really, a lot of folks, and move a leg, they take a breath, you would stop. But really, a lot of folks, and even health care providers, spend way too much time trying to figure out what's going on instead of starting what's going to help. Good Samaritan laws say that if you're doing your best to do CPR, even if you crack someone's ribs, you probably can't be successfully sued.

Now, I heard the saying, it might be wrong, if the ribs don't crack, they're not coming back. I don't know that I buy that because the ribs are connected to your sternum with cartilage. And lots of time that popping sound sounds like you, you know, cracking your knuckles. And it's that cartilage popping most of the time, because if you're in the right place and pressing straight down on the breastbone, you really shouldn't be in a position to crack ribs. What about breathing? We teach a lot of hands-only CPR because folks really don't want to put their mouth on somebody they don't know. But I think with COVID, there's really not a lot of folks that are real eager about doing mouth-to-mouth. When CPR was developed in the late 50s and early 60s, mouth-to-mouth resuscitation was a big part of it.

But today, the American Heart Association says that chest compressions on their own can be life-saving. Experts say any CPR is better than none. Tracy Stell says the original Annie mannequin they have at the hospital is from the 80s. The doll is dressed in a dark blue tracksuit with red trim and plastic sneakers. She's just got a slight, tiny smile on her face.

Eyes are closed. Ears and throat and hair that needs to be washed. Yeah, but she looks pretty good to me. It's not an intimidating mannequin at all. It's almost got like a friendly aura to it. They have other mannequins too. Now this face does not look as peaceful. Correct.

I think Annie, I would prefer to be working on Annie. These are better to learn on, though, because they give you two types of feedback. When you press the chest deep enough, they click. And when you press the chest at the right speed, we have lights that turn on in the shoulder and give you guidance if you're too fast or too slow. And there are newer mannequins that can do even more. Now, this man looks a little more... His tongue is moving. This is a 3G simulation mannequin.

He can breathe, create a pulse that you can feel, he can talk. Oh, he feels really lifelike. So is this type of a mannequin a step up from the old-fashioned? I guess recessive Annie was kind of the pioneer to what we have today. A lot of interesting history around recessive Annie. The history of the recessive Annie mannequin begins in the 1950s, when a doctor named Peter Saffer was trying to develop what would later become CPR. He decided to test the idea by sedating

and paralyzing volunteers to practice on. Peter Saffer presented this technique at medical conferences, and soon other doctors started trying it. One doctor in Norway, Bjorn Lind, started using patients who were already anesthetized for minor surgeries to show the technique to the hospital staff. One time, he gave anesthesia to his wife and used her to demonstrate. Then, Bjorn Lind got a call from a toy maker named Osman Lerdahl.

He was offering to help. A few years earlier, Osman Lerdahl had been on a family vacation at the beach when he saw his two-year-old son face down in the water. Osman Lerdahl rushed to pull him out. He didn't really know what to do, so he started shaking his son upside down. It worked. The water left his lungs, and he recovered. But after, Osman Laerdal kept thinking about it. His toy company was known for making cars, trucks, and dolls.

But he had made one medical device before, a fake wound kit for medics to practice first aid. The Norwegian Civil Defense had asked him to develop it, and it included 33 plastic wounds and pumps that could spurt fake blood. Osman Lerdal told the doctors, working on early CPR, that he could make them a soft plastic mannequin to practice on, so they wouldn't need to keep using surgery patients or sedated volunteers. He started working on the design for the mannequin.

He wanted to give it a woman's face, since he thought the doctors at the time, mostly men, wouldn't want to put their mouths on a male mannequin. Osman Lerdal was still planning the design when he went to visit his in-laws, and he saw a mask hanging on their wall. She looks like a sleeping woman. She's almost smiling. Eric Nadeau owns a workshop that makes masks. Aspen Lairdall learned that the mask he saw was supposedly made from

the face of a young woman who drowned in the Seine River in Paris. She looks very serene for a dead person, especially a drowned person. So, seeing this face of that beautiful drowned woman, he said, yes, I've got the face of my mannequin.

Aspen Lairdall decided to model the face of his CPR doll on this mask. He and Bjorn Lind started spending so much time working on the doll together that they became good friends. They named her Recessie Ann, or Rescue Annie. They made a prototype and tried to teach people with it, starting with a group of 200 middle schoolers. Then they showed the mannequin to Peter Saffer, who said they should add a metal spring in the doll's chest

to help people learn compressions. The doll worked really well to teach the first group of middle schoolers, so well that Bjorn Lind was invited across Europe and to Cuba to talk about Rescue Annie. In Norway, Banks donated 650 mannequins to elementary schools. Over the next two years, newspapers reported a lot on people who were rescued from drowning. In 85 attempts to resuscitate people, 40 were saved.

Today, people have called Rescue Annie the most kissed woman in the world. We'll be right back. Support for Criminal comes from Apple Podcasts. Each month, Apple Podcasts highlights one series worth your attention, and they call these series essentials. This month, they recommend Wondery's Ghost Story, a seven-part series that follows journalist Tristan Redman

as he tries to get to the bottom of a ghostly presence in his childhood home. His investigation takes him on a journey involving homicide detectives, ghost hunters, and even psychic mediums, and leads him to a dark secret about his own family. Check out Ghost Story, a series essential pick, completely ad-free on Apple Podcasts. Hey, it's Scott Galloway, and on our podcast, Pivot, we are bringing you a special series about the basics of artificial intelligence. We're answering all your questions. What should you use it for? What tools are right for you? And what privacy issues should you ultimately watch out for? And to help us out, we are joined by Kylie Robeson, the senior AI reporter for The Verge, to give you a primer on how to integrate AI into your life. So tune into AI Basics, How and When to Use AI, a special series from

Pivot sponsored by AWS, wherever you get your podcasts. The face of Rescue Annie, a young woman who supposedly drowned, which Osman Lerdal saw on his in-law's wall, was first made into a mask in a tradition that goes back to ancient Rome. In ancient Rome, artists would cover a person's face with plaster, let it harden, and then use that as a mold to make a cast or mask out of wax. It was a status symbol for men, usually between the ages of 35 and 40, to have these masks made while they were still alive. Then at funerals, they would sometimes hire an actor to wear the wax mask of the dead. Hundreds of years later,

people in Europe started making death masks again, of royalty or famous people. People would use them as a reference to paint portraits from, or just as decoration. Later, phrenologists, who believed the shape of a person's skull determined their personality, studied the death masks of people who were convicted of crimes. The police also used death masks to preserve the faces of anonymous bodies

and try to identify them. The death mask of Rescue Annie was shown in a 1926 catalog of death masks, where it was given the title, The Unknown Woman of the Seine. The unknown lady of the Seine died, she drowned in the Seine River in 1902 so people recuperated her body and on the riverside they saw that she was dead, that there was nothing to do. So they brought the body to the morgue in downtown Paris. In the morgue the doctor that was supposed to sign the death certificate approached the body and saw that she had a beautiful face.

Very delicate. So the coroner almost fell in love with her. So he wanted to have a reminder of her face. So he sent one of his assistants to get a molder. And the closest molder in the area was Lorenzi. So the assistant asks Mr. Lorenzi to come to the morgue to make a mold. Lorenzi says okay. So he takes his molding kit, closes the

shop and gets down the hill. So on the other side of the river he goes on the Ile de la Cité, which is where the morgue is, and makes the mold. Eric Nadeau says that Lorenzi used the mold to make a cast for the coroner. But then he decided to make another copy, one to keep for himself.

He put it in the window of his shop. People come here to ask to see Rescue Annie. Today, Eric Natto owns the Lorenzi workshop. I've got a room which is called a death mask room, which is a very dark place, cold place. The workshop is filled with thousands of old casts and molds. The Lorenzi family ran it for generations. Writers and artists would walk by Lorenzi's shop,

and some of them noticed the woman's face in the window. Rainer Maria Rilke described the mask of the woman's face in a book he was writing. He said it was hanging next to Beethoven. Quote, The face of the young drowned woman, which was cast in the morgue because it was beautiful, because it smiled, smiled so deceptively, as though it knew.

Rilke wasn't the first person to write about the mask, and he wasn't the last. People kept noticing her. After a while, Mr. Lorenzi in Paris starts to have orders for the unknown lady, and he gets so many orders that

he starts thinking that he's going to be a millionaire. Eric Nadeau says the orders came from all over Europe. People had written short stories, plays, books, and a movie about the woman. Everyone wanted to hang her face on their wall. A critic named Al Alvarez wrote that in the 1920s and 30s, quote, nearly every student of sensibility had a plaster cast of her.

I am told that a whole generation of German girls modeled their looks on her. Still, no one knew who she was. But writers imagine the story of her death over and over. Often they said that she jumped into the Seine after she was abandoned by a lover. In the water, she says, what did I do? I'm losing my life because of a stupid man. So she's trying to get out of the Seine River, but the souls of the drowned people in the Seine River are catching her by her legs because they saw that she was beautiful.

She was either pregnant and drawn herself, or she committed suicide because she was in love, or she was murdered and pushed in the water of the river. Anne-Gail Salyot wrote a book about the stories of the unknown woman of the Seine. The one common feature of the narratives is that she's been fished out of the Seine and she's dead. One story says that the woman grew up in Liverpool with an identical twin. She eloped to Paris with a French man and never came back.

Years later, they said her twin visited Paris and saw her own face in the shop window. It was only then she realized it was her sister's and that she had died. In a best-selling novel, she was an orphan, seduced by an English aristocrat. A man named William Wood said she was a Russian noble named Valerie and that he knew where her tomb was.

The other narrative is that the mask was made by a businessman, so that he just, you know, took a beautiful model, made a mask, invented a story that would go along the mask and sold it. Another alternative is that after that, the woman had a very, you know, romantic afterlife as being still alive, like she become a cabaret dancer in Argentina, she escaped, all kind of stories. Some people thought she drowned around 1900, but an image of her cast appears in a drawing manual from 30 years earlier. The manual also has images of Homer and the founder of the Roman Republic. In 1951, an article in the newspaper La Presse said,

The mysterious identity of the unknown woman of the Seine has not yet been discovered. Anne-Gal Saliot first read about the woman in a novel. I was then a student in Paris, so wandering around the streets of the Six Arrondissements, more precisely on the Rue Odeon, I came across a face in a window of a molder shop, the Lorenzi molder shop, and I realized, okay, she exists, she has a material existence. In French, she's called the Inconnue de la Seine.

Eventually, Anne Galceliot went back to the workshop to find out more about the woman. When she went in, she met Lorenzi's great niece. I came unannounced and I asked her about the incognito and her reaction was, again, again! She was, obviously it was not the first time that people were asking her question, but she nevertheless took the time to answer me. And what she me, that we don't have the original mold. We don't know when and how our great-uncle got hold of that, you know, that mold. People have pulled hair and skin particles

from death masks to use as DNA evidence in other cases. But Lorenzi's great-niece told Anne-Gal Saliot that there's no way to know where the original mask of the unknown woman is, because molders would often switch original molds and copies, using them interchangeably to make new casts.

It's something that, you know, this kind of workshop would do. They would just swap imprints and casts of all kinds. So it's nearly impossible to track her down. We will certainly never find the original. We only have copies of copies of copies of copies. Do you remember the first story you heard about the unknown woman of the Seine? Ah yes, the inconnue de la Seine. Kat Byers is working on a PhD

on the morgues of Paris and New York. She says that the Paris morgue kept detailed records, and that once photography was invented, the police kept a catalogue full of pictures of the bodies that came to the morgue. If the

unknown woman had been brought there, as many people believed, there should be some record. Did you ever look for her in the records? I did. I did look for her in the records. She would have been photographed. And I was looking through these photographs the other day, and there's no one from that period that resembles her exactly.

The likelihood of her ever actually having been at the morgue is, I would say, not very likely. If you question any professional mould maker, they will all tell you, as forensic doctors will tell you, it's impossible that this mask was taken on a dead woman. More especially a woman who drowned herself. Because she's too beautiful. Her skin is perfect.

There are no cavities. There's no wrinkles. You know, if you plunge a body in water for a certain amount of time, even for a couple of hours, it will never look that smooth and beautiful. So multiple people went to the archives of the national police in Paris and of the morgue trying to track down a trace of that woman. You know, when was she drowned? We don't know. When was the mass taken? We still don't know today.

It still remains an enigma if ever she drowned herself but there's no trace we'll be right back What software do you use at work? The answer to that question is probably more complicated than you want it to be. The average U.S. company deploys more than 100 apps, and ideas about the work we do can be radically changed by the tools we use to do it. Thank you. communicate, and plan for the future. In this three-part special series, Decoder is surveying the IT landscape presented by AWS. Check it out wherever you get your podcasts. Are you looking to eat healthier but you still find yourself occasionally rebounding with junk food and empty calories? You don't need to wait for the new year to start fresh. New year, new me? How about same year, new me? You just need a different approach. According to Noom, losing weight has less to do with discipline and more to do with psychology.

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in 1914, Michel Lorenzi did an interview on French radio about the mask. In the interview, he said that the woman had never drowned. Michel Lorenzi said that he had made the mold of her face in 1866, not in 1902. He said that actually she was a model, and that so many painters had wanted her in their workshops at the same time that they started making copies of her face. Did you ever believe for a second that the legend about the unknown woman might be true?

I think there were probably plenty of women like her. I think that when I first read about it, what mattered wasn't necessarily that it was true of this specific woman, but the possibility or the story of a young woman taking her own life and ending up in the morgue felt very true. So I didn't necessarily think that that woman did, but I felt that I know that plenty of women did. It's unlikely that the woman who served as a model for L'Inconnu de la Seine was dead, but why she became so famous,

it's because it was very, very resonant with things which were happening. In the 1800s, hundreds of thousands of people started moving to Paris. When we start the century, Paris has, I think it's about 600,000 people. By the end of the century, there's over 2 million. And during that period, there was more of what we would perhaps consider now to be untimely death. And that was essentially what the morgue was born out of, is the fact that so many people were being found dead in the streets or in the river in a scenario where they couldn't be immediately identified. And perhaps that's because they were away from home, but also they might have been away from home in every sense that they may have recently come into the city to work,

not had those strong social or community ties. And as a result, there wasn't anybody to identify them. Many people were, you know, transporting all kinds of things on the river and it was a necessary thing for business. So there were regular accidents. Two-thirds of the bodies in the morgue were reported to be pulled from the Seine. A French writer called the Seine the great dumping ground where assassins come to bury their victims. The police would distribute photographs of the bodies

and ask people to try to identify them. Anyone could walk into the morgue from the street. And so you would go in and then at the back of the room there was a wall of glass and behind the wall there were bodies laid out on slabs. They are displayed naked, although they have a cloth covering the groin. So the clothes are taken away and the clothes are often hung behind the body to help with recognition. And the condition varies. They didn't have very many ways to keep the bodies

fresh, for want of a better word. So they would drip cold water on the bodies and you would probably only get about two to three days before the body started to become unrecognisable. But then once the fridge technology was introduced, you could maybe get two to three weeks. The morgue showed up in novels. Charles Dickens visited it over and over again. And it was part of a book called Therese Rakan by Emile Zola.

A murderer goes to the morgue to see if the body of his victim is there. And in seeing the body, he has this awful reaction to it and he feels so guilty. Apologies for spoilers, but it has been out for 150 plus years. Illustrations in the newspapers showed the police bringing people they suspected into the morgue to confront their supposed victims. Journalists would report

in detail about the crimes connected to the bodies on display. With some of the popular bodies, they might occasionally replace something. So there was one woman who, once her head became too decomposed to display, they created a wax model of her head and put that on display instead. By the time the unknown woman was rumoured to have died, the morgue was already popular.

It was reported that on busy days, as many as 40,000 peoplegue was already popular. It was reported that on busy days, as many as 40,000 people would come to visit. It was open seven days a week, from dawn to dusk. It became a kind of tourist attraction. So you might read a guidebook that would suggest that after you visit Notre Dame, why not take a trip to the morgue? In fact, more people visited the morgue than in any museum.

I mean, for today, for our contemporary sensibility, it nearly sounds atrocious. But people were really visiting. You know, you have 19th century newspapers articles who are selling to tourists in Britain and in the US a tour to the morgue as a tour to the Louvre. An article published in 1951 reads, Many take away a souvenir of their stay in Paris,

beautiful prints of art preserved in our museums, or a molding, always the same, the unknown woman of the Seine. For a very long time, people were buying postcards or casts of the Inconnus de la Seine in the same way as they would buy miniatures of the Eiffel Tower. When did the Paris morgue close to the public and why? So it was officially closed in 1907 on the grounds of public decency. So after over 100 years, they decided that it was no longer appropriate for the public to be able to, for the dead to be exposed for public viewing in that way. And there were also fears at various periods towards the end of the morgue

that it was inspiring crime in people, that it was encouraging bad behaviour, even though there had also been elements to which the display was intended to maintain social order and to keep people aware of what happened if you stepped outside the lines. When the morgue closed, one journalist wrote, The morgue has been the first this year among theatres to announce its closing. As for the spectators, they have no right to say anything because they didn't pay.

It was the first free theater for the people. For years, Anne Galsalio refused to buy a copy of The Unknown Woman's Face. She said she didn't want to have one while she was researching her. It was only when she moved away from Paris that she finally bought one. I mean, she's very spooky, I have to say. I find her quite frightening. She brought her copy of the mask into the studio when we spoke. I try not to look at her when I'm in my study,

because she's in my study now. She has this specific hairstyle from the 19th century with her hair tied back, but her ears are covered. Her eyes are closed, she has a very enigmatic smile, her face is very smooth, she has very prominent cheekbones, very regular features. She looks as if she's dreaming peacefully. But what I find also very characteristic

is that you can see all the texture of her skin, which is very smooth, but for example, her eyelashes look as if they're still matted and humid. You know, it looks still wet in some ways. Yeah, it really looks as if she's just been fished out of the water. I mean, that's true. When you look at her, she does look as though she's just emerged from the water and i don't know if it seemed like her hair might be damp but it really yeah there is something very lifelike about her yeah i mean even though she's supposedly dead yes i mean it's quite striking because if you look

closely you can see for me it's as if you know someone has just cried and and fall asleep she looks both dead and alive she's beautiful but she's frightening she seems to be very ancient and very modern she's like you know this kind of liminal presence that keeps haunting you she's a ghost she's a perfect ghost so she remains it's a mystery as the fact that she condenses so many of our experience and I think maybe fundamental experience of modernity what it means to be an anonymous woman in a big city what it means to die alone what it means to love what it means to keep traces of our dead it's about you know the presence of our dead within our lives. Criminal is created by

Lauren Spohr and me. Nadia Wilson is our senior producer. Katie Bishop is our supervising producer. Our producers are Susanna Robertson, Jackie Sajico, Lily Clark, Lena Sillison, and Megan Kinane. Our technical director is Rob Byers. Engineering by Russ Henry. Julian Alexander makes original illustrations for each episode of Criminal. You can see them at thisiscriminal.com.

We're on Facebook and Twitter at Criminal Show and Instagram at criminal underscore podcast. We're also on YouTube at youtube.com slash criminal podcast. Criminal is recorded in the studios of North Carolina Public Radio, WUNC. We're part of the Vox Media Podcast Network. Discover more great shows at podcast.voxmedia.com. I'm Phoebe Judge. This is Criminal. Thank you. better in adults. Effects of Botox cosmetic may spread hours to weeks after injection causing serious symptoms. Alert your doctor right away as difficulty swallowing, speaking, breathing, eye problems, or muscle weakness may be a sign of a life-threatening condition.

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