The images from Golf Illustrated & Outdoor America, 19?.
MOTION PICTURES OF MISS CECIL LEITCH TAKEN AT SANDWICH, ENGLAND
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THIS last year Miss Cecil Leitch won the British Ladies' Championship and up until then she seems to have occupied the same position among women players abroad as Mr. Charles Evans, Jr., occupies to-day among our amateur golfers. Capable of making the most astounding scores; possessed of a most impressive and powerful style, she still lacked, until her success last year, that coolness and perseverance which distinguishes the typical match player.
The same feature which we pointed out last month in the motion pictures of Mr. Harold H. Hilton - a feature that is characteristic of all players who do not take their club back in the most upright arc possible - is evident in the style of Miss Leitch, namely, bringing the club down to the ball in a more upright arc than that in which it was taken back. Eight shows the top of the swing and yet in ten, although the club has moved only the shortest of distances in its downward path, the hips have already very nearly assumed the position they occupied at the address (1). This is responsible for two things: the creation of enormous tension in the back and left arm by the quick positioning of the hips stretching to the limit the degree in which the upper body may turn to the right in relation to them, a position which in itself compels the club to come down more uprightly than it went back. This shows us how it is that the back and side muscles play the great part they do in the golf stroke and further gives some idea of how much the stroke is a swing or sweep—remembering that swing is body action, hit the action of the forearms and wrists as Mr. Croome very ably explained last month.
A peculiarity noticeable is the bending of the right knee at the top of the swing. The wonderful manner in which Miss Leitch keeps her eye on the ball is also to be remarked in 14. This is characteristic of all great players.