These and many other things I learned on the day after the monk had pointed out to me the direction of the nine holes of Florence, when I went along to San Donato to make a closer view of them, to drive and putt at them. The golfers of Florence are a good company, managed with zeal by Signor Mavrogordato, in the capacity of honorary secretary. They are as keen and interested in their game as if they were at Sandwich, and they have a miniature club-house situated on a spot of land that has a cemented water-filled moat all round it, those who would enter having to pass over a little rustic bridge. The holes are plain with artificial cross bunkers, and the architecture is of what might be called the low Victorian school. One of the features of the course is a couple of tall trees that stand up in the middle with thin straight trunks parallel to each other, looking for all the world like Rugby football goal-posts. One great advantage that this course has is that it is splendidly convenient to the city. Take a tram-car No. 17 labelled "Cascine" from one particular corner of the cathedral square, say "Golf" to the conductor, pay him a penny for the fare, and the rest is inevitable. In a quarter of an hour you will be deposited at a junction in the roads by the barrier of Ponte alle Mosse, and two minutes' walk from there takes you to the iron gates which give admission to the course.
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There is the beautiful bay at Naples, and Pompeii, and a short voyage on the steamboat to the sweet isle of Capri; but golf has not yet come to Naples, though it will do so soon. When we travelled down there from Rome we were aboard a train that was taken by many of the Naples members of the Italian Parliament who were going home for the week-end—the "deputies' train" they often call that six o'clock from Rome. They had been having a fearful week of it, wrangling about their recent Libyan war and the cost of it, and their nerves were in rather a jagged state. I fell into conversation with one of them, and he said that he wished he were a golfer, as from all that he had heard and understood it was the real and only thing for the soothing of a deputy after such scrimmaging and scratching as they had been having in the Chamber that weary week. He asked questions about our Parliamentary golfers, and was informed about Mr. Balfour, Mr. Asquith, Mr. Lloyd George, and all the others. I told this honourable member for Naples that nearly all our Parliamentarians played the greatest game of all, and that the Mother of Parliaments was all the better for it. He was impressed. He said there should be golf at Naples by the time I went there again—even if it was set there for the benefit of the tired members only!
Above all things, Venice is a place for reflection, and when we are there we think of all things we have seen and done in Italy, and shape exactly the impressions that have been made. One time there were two or three of us in a gondola. The crescent of a seven days' moon hung among the stars in the Venetian night. The gentle regular plash that was made by Giovanni Cerchieri, our gondolier (and be it said that his gondola is the blackest and smartest and most finely dignified of all that glide on the Grand Canal), as he swung backwards and forwards to his work behind us, with a sigh or a murmur that might have swollen to a real boat-song had we encouraged it, was nearly the only sound on the still waters. And in this Venetian night, an hour after the coffee, we were in the mood of men who feel that they are soon to return to the cold hard facts of life. The rest of Venice might go to glory; we, soothed amid such ease and comfort as might have satisfied a doge, turned our thoughts to the links of home. There was nothing incongruous in the association of ideas and facts. Venice we found to be splendid for meditation, and any place with such a quality, like the top of a mountain, or the side of a purling stream, is a fine one for golfing consideration and conjecture. One man would talk of art, of pictures, and of sculpture; another would stupidly keep to golf. And then a compromise was suggested, when it was said that a question had once been asked as to whether there was such a thing as style in golf!
Any thoughtful player who ever had any doubt upon this matter—but, of course, no thoughtful player ever could—would have it dispelled if he went to Italy even though he never played a game, did not take his clubs, and never saw a golf course there. It were indeed better for his education in this matter that he should not play when on Italian ground, for one would not expect to find on the courses there the best examples of golfing style. The fact of style in golf would come home to him when he wandered through the galleries and looked upon all the magnificent sculptures that are among the matchless treasures of the country, though there is no study of a golfing swing among them. I do not see how any player of the game who is thoughtful and contemplative can go to Italy and fail to be enormously impressed with the lessons that are silently delivered from the sculpture in the galleries and museums of Rome, Florence, and other cities. In hundreds of pieces here we see the suggestion of beauty put forward in every movement and exercise of the human body, and particularly when the frame is being brought to some considerable physical effort, when the limbs are being placed upon the strain, are grace and rhythm and style exhibited to us, and with them there is the suggestion always of the extreme of power. There is indicated the close relationship between exact and graceful poise, perfect balance, and supreme controlled and concentrated force. The very utmost efficiency is always suggested in all this artistic balance. As the art is better and more appealing, so the suggestion of power is increased and the marble almost seems to break with life.
Considered in this way, what a fine thing is the "David" of Bernini in the Borghese Gallery! But for our golfing suggestion some of the discobolus models serve us better. Without ever having attempted to throw a discus, one may very well understand that success at such an exercise depends almost wholly upon perfect balance and accurate concentration of force and true rhythmical movement, and in the models in the Vatican and the National Museums in Rome and elsewhere we see how it might be done. The discobolus of Myron, reconstructed as it has been, and with the head made to face in the wrong direction, so they say, is a magnificent thing. In the National Gallery of Rome they have made a reconstruction from a fragment of another, and they have made the figure to look sideways and half upwards to the discus held at arm's length behind him ready for the throw, whereas in the Myron the face is to the front and the eyes are down. (Though one may know nothing at all about the ways in which the discs were really thrown, or what is the best way to throw them, one is hardly convinced of the desirability of disturbing the head in the back-swing of the arm and letting the eyes follow the object in the hand. Surely concentration would be impeded and balance suffer.) But in these images we see the intensity of the relation between style and power, and we realise that if there were no style in golf there ought to be, and the next moment, that of all modern games golf is a game of style and nothing else. Perhaps you may play it without style, but then it is not the same thing, and it can never be so thoroughly effective and precise. Unconsciously, perhaps, James Braid had style in his mind when he said that at the top of the swing the golfer should feel like a spring coiled up to its fullest tension, straining for the release. That is just what the discobolus suggests, and the golfer gets the fullest enjoyment from the game, the supreme physical thrills, when he feels this high tension for a moment and then its even, smooth, and quick escape, and he cannot feel it so when he has no style and all his movements and positions have not been made in perfect harmony. Some may say that the actions of the discobolus were probably not so very fine as the sculptors have made them out to be, and that much of the shape is merely artist's fancy, but probably they are fairly true to life. If they are not, one cannot contemplate them for more than a few moments without feeling that life ought to be true to them. The golfer in the suggestion of grace and power, as in the models that have been cut of Harry Vardon at the top and end of his driving swing, reaches some way towards the discobolus.