{PLATE II. FOREHAND GRIP. FRONT VIEW. Notice the straight line of the arm, hand and racquet, the flat racquet face, the natural finger position on the handle. The racquet is in position to hit a forehand drive.
FOREHAND GRIP, BACK VIEW. The line is straight, the head of the racquet slightly in advance of the hand. The pose is at the moment of contact between ball and racquet.}
{PLATE III. THE COMPLETED SWING OF THE FOREHANDDRIVE. Notice the body position, at right angles to the net, the weight on the front or left foot, having passed from the right foot with the swing, just at the moment the ball is struck. The racquet is carried to the limit of the swing and falls into the left hand at height of the shoulder. The racquet face has passed over the ball. The reader is looking through the strings. The stroke was made with the far side of the racquet from the camera. The eye is following the ball in its flight. The whole movement is forward. The tendency in hitting a forehand is to stop the swing too soon. Notice the full follow through to the extreme limit of my swing. The hitting plane in this picture is too high, the shot having been made almost at the shoulder. The correct hitting plane for the forehand drive is along the line of the waist. Play all drives at this height if possible. Step back to allow the ball to fall waist high if necessary rather than play it at the shoulder. Hit your forehand drive decisively but do not attempt to kill every shot. Be accurate first and attain speed second.}
{PLATE IV. BACKHAND GRIP. FRONT VIEW. Note the hand ontop of the racquet handle, yet retaining the straight line of arm, hand andracquet Is in the forehand. The change from the forehand grip is one quarter circle of the handle. The knuckles are up and directly towards the opponent. The head of the racquet is advanced slightly towards the ball.
BACKHAND GRIP. BACK VIEW. Notice the line of arm and racquet is straight and the hand on top of the handle. The thumb in my stroke is around the handle, but may be placed up the handle if desired. Personally, I do not use it, and do not advocate it, as it tends to detract from the ******* of the grip.}
{PLATE V. COMPLETION OF THE BACKHAND DRIVE. Noticethe feet are firmly set, with the weight on the right foot, to which it was shifted from the left with the swing. The racquet has struck and passed over the ball, topping it. The body is at right angles to the net, the left arm extended to aid in perfect balance. The whole movement is forward, while the eye is on the ball, in its flight. The stroke in the picture was off a high bounding ball which accounts for the racquet's position being above the wrist in order to bring down the ball. The perfect backhand drive is off the waist, and the racquet passes along that hitting plane. Meet the ball well forward on the backhand, at least in front of the right hip. This will obviate the common error of slicing off to the sideline and will tend to pull the ball, into court. The locked wrist, with no turn is essential on all backhand shots below the shoulders. It insures solidity of impact and adds pace to the return. I believe in all beginners playing their backhand shots cross court until they have fully mastered the footwork and locked wrist swing. The common error of slicing the backhand cannot be too strongly emphasized and condemned and cross courting the shot tends to avoid it.}
{PLATE VI. THE FOREHAND VOLLEY. Notice the body at right angles to the net, the left foot advanced to the shot, the weight evenly distributed on the feet, the wrist slightly below the racquet head, the racquet head itself slighly{sic} tilted,,{sic} to lift the volley, and the whole movement a "block" of the ball. The wrist is stiff. There is no swing. The eyes are down. watching the ball. The left arm is the balance wheel. The body crouched and the knees bent.}
{PLATE VII. THE BACKHAND VOLLEY. The body position and weight control and balance are the same as in the forehand volley. Thecrouch is more pronounced as the hitting plane is lower. The head of the racquet is firmly blocked by the stiff, locked wrist. The eyes are centered on the ball, which has just left the racquet.}
{PLATE VIII. DAVIS CUP CHALLENGE ROUND, 1921 ZenzoShinddzu. Japan and William T. Tilden 2nd. America, just previous to the opening of their terrific match in which Shimidzu led by two sets. 5-4 and 30-0, only to have the American finally pull out the Victory.}
{PLATE IX. DAVIS CUP CHALLENGE ROUND, 1921 William M.
Johnston. America and Ichiya Kumagae. Japan, take the court for the opening match before a gallery of over 12,000 people. Johnston won in sequence sets, scoring the first point for America.}
{PLATE X. FAMOUS DAVIS CUP DOUBLES TEAMS NORMANE. BROOKES AND GERALD L. PATTERSON Australia, 1920 R. M. WILLIAMS, 2ND AND WATSON M. WASHBURN America, 1921 M. E. MCLOUGHLIN AND T. C. BUNDY America, 1914}
{PLATEXI.FAMOUSDAVISCUPSTARSNORMANE.
BROOKES Australia ANTHON F. WILDING New Zealand BEALS WRIGHT America W. A. LARNED America}
{PLATE XII. THE 1921 AUSTRALIAN DAVIS CUP TEAM J.O.
Anderson, J.B. Hawkes. Norman Peach and C. V. Todd.
THE 1920 AMERICAN DAVIS CUP TEAM R. N. Williams, 2nd, W.
M. Johnston, Captain Samuel Hardy, W. T. Tilden, 2nd and C. S. Garland.}
{PLATE XIII. FORMER CHAMPIONS OF AMERICA R. NORRIS WILLIAMS 1914 and in 1916 WILLIAM M. JOHNSTON 1915 and in 1919 MAURICE E. MCLOUGHLIN 1912 and in 1918 ROBERTLINDLEY MURRAY 1917 and in 1918}
