Tarot of Marseilles - The Art of Playing Tarot Cards by J.-M. Simon

By J.-M. Simon

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They were camp, and they were sentimental. It has been said of Skellern, as it has of other gentle and humorous balladeers of the period, that their careers were thrown off course in the late 1970s by the arrival of the ugly phenomenon of punk, which, while it might have been aimed as an attack on the bubble-gum music of the large record companies, 48 CHAPTER 1 actually brought down other singer-songwriters instead; certainly the latter almost never made it afterward into what was then called the hit parade.

Offensive too are the architects who designed a disappointing building because the original highly regarded one never came off; my own childhood town center of Hammersmith is now blighted by a monstrously ugly office and transportation hub in a clumsy postmodern style designed by Elsom Pack & Roberts, who put it up when an elegant proposal by Foster Associates never materialized. 45 For many, however, Gibberd’s major crime is that his building went up on top of the only small fragment of Lutyens’s fantastically ambitious original design for the building, a failure that ought to be Lutyens’s, or the Catholic hierarchy’s, but which somehow seems to be attached unfairly to Gibberd.

Mendelsohn designed a fine villa for the Schocken family in Jerusalem, but it was wrecked in the 1950s by Josef Klarwein when he turned it into a music academy. In fact Klarwein, who had worked before his enforced exile from Germany as a senior assistant of Fritz Höger, turned out to be perhaps Israel’s greatest loser. He was one of the finest architects working in the state during its early years, in a dry but careful and always beautifully detailed style; but after winning the competition for the new Knesset building in 1957 he fell victim to a fate similar to that of Gepstein, only a great deal worse.

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