By C. K. Hutchison

Men Of Genius

Genius has been defined as 'the infinite capacity for taking pains,' and the definition is certainly a happy one when applied to golf, for no one can hope to excel at this most exacting of all games unless possessed of this quality. Perfection of style can only be acquired by careful thought and patient practice.

Good style is the invariable attribute of the first-class exponent of every game. Though primarily due to natural gifts of eye and muscle, it must be assisted by sufficient intellectual ability to enable these gifts to be utilised to their fullest advantage.

There are, of course, certain geniuses of every game, who apparently do many things wrong - in point of form - and yet do everything perfectly - in point of result - but the exponent of an eccentric style can hardly hope to produce such consistently good results as the more orthodox performer. Style is the manner that most completely and effectively conforms with the matter - a fact which the professional adviser might well bear in mind when he is vainly endeavouring to impart his own free style to the middle-aged neophyte, whose stiffening muscles and possibly rotund proportions naturally resent such unusual treatment.

Voluminous treatises, supplemented by instantaneous photography, must have familiarised the styles of the leading celebrities to the present generation of golfers, so I am not going to attempt to describe them in detail, but will merely endeavour to point out their chief characteristics.

During the last fifteen years the foremost figures in the golfing world have undoubtedly been the three great professionals, generally known as the Triumvirate. Not only have they achieved a wonderful record, but they are extraordinarily attractive players to watch. Although Vardon, Braid, and Taylor are men of totally different build, they possess in common unusual strength of wrist and hand, and a profound knowledge of wrist-work; and it is in both these essentials that the professionals can claim a marked superiority over the majority of amateurs. It not only enables them to hit the ball very far and straight with apparently little effort, but gives them the additional advantage of being able to control distances with a half-shot, where feebler folk must rely on a full swing.

Captain C. K. HUTCHISON.

HARRY VARDON.

[To face p. 235.

Mr. Darwin considers that the half-shot is the more difficult shot of the two. Personally I cannot agree with him, and certainly the leading professionals aver a decided preference for the half-shot, and the majority, at any rate, carry out this theory in practice. Vardon is undoubtedly the most graceful of the three great professors.

There is a beautiful rhythm about all his strokes, and a perfection of poise which is quite unique. Mr. Darwin, though obviously a sincere admirer, considers that Vardon's style is hardly a safe one to attempt to copy. He takes exception to the rather abrupt lift of the club in the middle of the backward swing. I cannot help thinking that Vardon has lately modified the one peculiarity in an otherwise faultless performance.

JAMES BRAID.

J. H. TAYLOR.

[To face p. 237.

Braid's style always gives me the impression of great power under perfect control. He certainly possesses a reserve force, which he produces with unfailing regularity when the occasion demands. No conceivable bad lie has the slightest terrors for him, and the straightness and accuracy of his recoveries from really horrible situations are even more wonderful than the amazing distance he succeeds in hitting the ball. Another very noticeable feature of his game is his perfect command of trajectory with every club. His long low shots against a head wind with wooden and iron clubs alike are magnificent, and he is perhaps the greatest master of the running approach. At one period of his career he was a distinctly moderate putter, but it is a rare occasion now when his work on the green can be described as faulty.

When Taylor won his first championship at Sandwich his driving was so accurate that no hazards existed for him except the guide-flags, at least one of which he is said to have struck. He is without exception the most machine-like and accurate player that has as yet appeared. His driving style is quite peculiar to himself, combining a very flat swing with a most curious finish - as Mr. Darwin describes it, with the hands tucked away in the pit of the stomach. It is a wonderfully compact style, with the right elbow kept very close to the side, suggesting a tremendous amount of wrist-work. At one time he favoured the very open stance, but, like many others, seems to have modified this peculiarity considerably of late years.

Outside the Triumvirate there is no player who has played finer or more consistent golf than A. Herd, though he can hardly be said to have had his fair share of fortune in the championship. But he is always there or thereabouts, and the reason is not hard to find, as he has probably the truest swing of any living golfer. He differs from most of his professional brethren by adhering to the old style of gripping the club. In fact, he seems to sink the club well into the palm of the hand, but it does not apparently hamper his wrist-work, as is proved by his swing being distinctly long and very supple. A considerable amount of body work is conspicuous, and his crouching address and determined waggle are distinctive features of his game. He is equally good in all departments - a fine driver, good approacher, and usually an excellent putter, though failure to hole the four-footers certainly cost him the championship at Sandwich in 1911.