The Criminal Code of Canada and the Canada Evidence Act as Amended to Date, with Commentaries, Annotations, Forms, Etc., Etc., and an Appendix Containing: the Imperial Criminal Evidence Act, the Imperial Criminal Appeal Act, 1907, the Imperial Foreign Enlistment Act, the Canadian Alien Labor Act, Lord's Day Act, Money Lenders Act, Identification of Criminals Act, Ticket of Leave Act, Fugitive Offenders Act, and Extradition Act, the Extradition Conventions with the United States and a List of Great Britain's Other Extradition Treaties, Etc

The Criminal Code of Canada and the Canada Evidence Act as Amended to Date, with Commentaries, Annotations, Forms, Etc., Etc., and an Appendix Containing: the Imperial Criminal Evidence Act, the Imperial Criminal Appeal Act, 1907, the Imperial Foreign Enlistment Act, the Canadian Alien Labor Act, Lord's Day Act, Money Lenders Act, Identification of Criminals Act, Ticket of Leave Act, Fugitive Offenders Act, and Extradition Act, the Extradition Conventions with the United States and a List of Great Britain's Other Extradition Treaties, Etc
Author: Canada
Publisher:
Total Pages: 1564
Release: 1910
Genre: Criminal law
ISBN:
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The Canadian Law Times

The Canadian Law Times
Author: Edward B. Brown
Publisher:
Total Pages: 1074
Release: 1911
Genre: Law
ISBN:
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From 1900 to 1908 includes the "Annual digest of Canadian cases ... decided in the Judicial Committee of the Privy Council, in the Supreme and Exchequer Courts of Canada, and in the courts of the provinces ... Edited by Edward B. Brown."

Luxury Arts of the Renaissance

Luxury Arts of the Renaissance
Author: Marina Belozerskaya
Publisher: Getty Publications
Total Pages: 292
Release: 2005-10-01
Genre: Art
ISBN: 0892367857
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Today we associate the Renaissance with painting, sculpture, and architecture—the “major” arts. Yet contemporaries often held the “minor” arts—gem-studded goldwork, richly embellished armor, splendid tapestries and embroideries, music, and ephemeral multi-media spectacles—in much higher esteem. Isabella d’Este, Marchesa of Mantua, was typical of the Italian nobility: she bequeathed to her children precious stone vases mounted in gold, engraved gems, ivories, and antique bronzes and marbles; her favorite ladies-in-waiting, by contrast, received mere paintings. Renaissance patrons and observers extolled finely wrought luxury artifacts for their exquisite craftsmanship and the symbolic capital of their components; paintings and sculptures in modest materials, although discussed by some literati, were of lesser consequence. This book endeavors to return to the mainstream material long marginalized as a result of historical and ideological biases of the intervening centuries. The author analyzes how luxury arts went from being lofty markers of ascendancy and discernment in the Renaissance to being dismissed as “decorative” or “minor” arts—extravagant trinkets of the rich unworthy of the status of Art. Then, by re-examining the objects themselves and their uses in their day, she shows how sumptuous creations constructed the world and taste of Renaissance women and men.