Shubtill v Director of Public Prosecutions: Difference between revisions

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Shubtill v Director of Public Prosecutions (view source)

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{{cite|R|Langley|2022|JCLR|46}}</center> <br><br>
{{cite|R|Langley|2022|JCLR|46}}</center> <br><br>


{{smallcaps|{{Cocklecarrot}}}}: (''Cur adv. vult)'' London’s National Gallery has stood for 170 years at the northern boundary of Trafalgar Square. Originally conceived by Parliamentary Commission to “give the people an ennobling enjoyment”, the gallery houses paintings which, on any account, are the highest peaks of the grand massif that is the western cultural tradition. Cimabue’s ''Virgin and Child with Two Angels'' hangs there. So does Leonardo’s ''Madonna of the Rocks''. The gallery records the inevitable progress of history: Constable’s ''The Hay Wain'' graces a wall not far from Turner’s requiem to the obsolescence of sail and the final, crushing victory of the Industrial Revolution, ''The Fighting Temeraire''. The gallery is just as well endowed with modern art: Cézanne hangs beside Monet, who accompanies Renoir and Rousseau. Accompanying all these French masters is Van Gogh’s ''Sunflowers'' a painting whose sister was once the most expensive painting ever sold.
{{right|(''Cur adv. vult)''}}
{{smallcaps|{{Cocklecarrot}}}}:  London’s National Gallery has stood for 170 years at the northern boundary of Trafalgar Square. Originally conceived by Parliamentary Commission to “give the people an ennobling enjoyment”, the gallery houses paintings which, on any account, are the highest peaks of the grand massif that is the western cultural tradition. Cimabue’s ''Virgin and Child with Two Angels'' hangs there. So does Leonardo’s ''Madonna of the Rocks''. The gallery records the inevitable progress of history: Constable’s ''The Hay Wain'' graces a wall not far from Turner’s requiem to the obsolescence of sail, ''The Fighting Temeraire''. The Gallery is just as well endowed with modern art: Cézanne hangs beside Monet, who accompanies Renoir and Rousseau.  


As might any building which has stood in central London for 170 years, the gallery has born witness to great change and momentous events, both fair and foul. The erection of Nelson’s Column. The ushering in of the new Millennium. The area has seen its share of political protests: suffragette bombings of 1924, and Poll Tax Riots of 1990.  
Accompanying all these French masters is Van Gogh’s ''Sunflowers'' a painting whose sister was once the most expensive painting ever sold.


So I dare say the goings on of Friday 14th October 2022 will not linger over the aeons: fairer things, and fouler ones, will soon wipe them from the collected consiousness, just as a stout sponge might remove carelessly spilt soup. But alas, these events are on our agenda for todays proceedings, so, tiresome as they undoubtedly are, it falls to me to recount them.  
As might any building which has stood in central London for 170 years, the gallery has born witness to great change and momentous events, both fair and foul. The erection of Nelson’s Column. The ushering in of the second Millennium. The area has seen its share of political protests: suffragettes bombed it 1914, and taxpayers rioted against the Poll Tax in 1990.
 
I dare say the goings on of Friday 14th October 2022 will not linger over the aeons: fairer things, and fouler ones, will soon wipe them from the collected consiousness, just as a sponge might remove carelessly spilt soup. But alas, these events are on our agenda for today’s proceedings so, tiresome as they undoubtedly are, it falls to me to recount them. I shall do so as briefly as I can.


On Friday, just after 11am, two young women entered Room 43 of the Gallery. It was normal Friday towards the end of the holiday season and the gallery was typically busy. It escaped the guards’ attention the women had, concealed about their persons, containers of soup, which without ado they emptied onto Vincent van Gogh’s ''Sunflowers''. There were gasps, roars and a shout of “''Oh, my gosh!''” from nearby patrons before the women vaulted a velvet rope and glued themselves to the wall and began shouting. Most patrons stood transfixed. One, a Mr [[Ernest Shubtill]], of Rillington Way, Neasden, did not. Mr. Shubtill exited Room 43, largely unobserved, and at a decent clip. We shall hear more about Mr. Shubtill shortly.
On Friday, just after 11am, two young women entered Room 43 of the Gallery. It was normal Friday towards the end of the holiday season and the gallery was typically busy. It escaped the guards’ attention the women had, concealed about their persons, containers of soup, which without ado they emptied onto Vincent van Gogh’s ''Sunflowers''. There were gasps, roars and a shout of “''Oh, my gosh!''” from nearby patrons before the women vaulted a velvet rope and glued themselves to the wall and began shouting. Most patrons stood transfixed. One, a Mr [[Ernest Shubtill]], of Rillington Way, Neasden, did not. Mr. Shubtill exited Room 43, largely unobserved, and at a decent clip. We shall hear more about Mr. Shubtill shortly.
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