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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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{{cn}}<center>In the Court of Appeal <br> | {{cn}}<center>In the Court of Appeal <br><br> | ||
{{cite|R|Shubtill|2022|JCLR|46}}</center> <br><br> | <big><big>{{cite|R|Shubtill|2022|JCLR|46}}</big></big></center> <br><br> | ||
{{quote|Appeal from an order of the court of criminal appeal refusing leave to [[Ernest Shubtill]], the appellant, to appeal against his conviction for the wilful battery of Violetta Penelope Botts. The appellant was convicted on 17 October 2022, at London & Middx Assizes.}} | {{quote|Appeal from an order of the court of criminal appeal refusing leave to [[Ernest Shubtill]], the appellant, to appeal against his conviction for the wilful battery of Violetta Penelope Botts. The appellant was convicted on 17 October 2022, at London & Middx Assizes.}} | ||
{{right|(''Cur adv. vult)''}} | {{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. | {{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. | ||