Never, as leaders at any game, were there three men so closely matched with methods so widely different. You may put that down in large measure, if you please, to the physical, anatomical differences of the three: there was Taylor, square, short, compact, stubby; there was Braid, long, loose-jointed; and there was Vardon, a happy medium between the two, and really a very finely-shaped specimen of a powerful human being. It is hardly to be questioned which of the three had the most perfect and beautiful style. Vardon hits up his body a little, away from the ball, as he raises the club--that is a movement which we should tell a learner was apt to unsettle the aim a little. It did not upset Vardon's aim; but then Vardon was rather past the learner stage. For the rest his style was the perfection of power and ease. Taylor, with the ball opposite the right toe and every stroke played rather on the model generally approved for the half iron shot, had a style as peculiar as his "cobby" build, and specially adapted for it. Braid swung in a loose-jointed way at the ball that did not suggest the mastery and the accuracy which he achieved. I have spoken of a kind of "divine fury" with which he launched himself at the ball. Those were long before the days of his studies in "Advanced Golf" and so on. I doubt whether he played according to any very conscious method. But the results well justified the method, or the method-lessness. For a while there was little to choose between these three great ones. [Illustration: James Braid.] [Illustration: Horace Hutchinson and Leslie Balfour Melville at the starting box at St. Andrews.]