Word: seventeenth
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...strokes behind Hagen's score at the ninth hole. On the tenth, Alliss got a birdie 2, followed by four pars. On the fifteenth he got a birdie 3 and on the sixteenth dropped a 15-ft. putt for another 3. He had a par 4 on the seventeenth. On the eighteenth, he and Farrell both needed birdies to tie Hagen. It seemed to be Farrell's turn but his putt for a 3 rimmed the cup and stayed out. Alliss looked at his ball lying 18 feet from the cup, walked up & down on the wet green...
...third between two lines of spectators to plump his ball a yard from the cup, made a birdie four. After holding a lead of now one and now two strokes. Hagen dropped the fifteenth and sixteenth, where Alliss sank a 30-ft. putt, and they came to the seventeenth all even. Alliss thereupon sliced his drive to take a par four while Hagen drove straight down the fairway, approached well, quickly sank his putt. The last hole was halved. Hagen's total score: 423; Alliss...
...twelfth, a five on the fifteenth. Needing three par-fours now for a tie, he dubbed a twelve-inch putt on the sixteenth, took a five instead of a four. This blunder, which would have destroyed the poise of most golfers, appeared to invigorate Von Elm. He played the seventeenth in four, put a mashie shot 15 feet wide of the pin on the eighteenth green and sank the putt, almost angrily, for the birdie and a 292 to match Burke...
Three collections of silverware of the Seventeenth and Eighteenth centuries, providing unusual attraction for those interested in the subject, are now on exhibition in the Fogg Art Museum. An exhibition of 32 pieces representing English silversmith's art of the period has just been opened, while a group of American items of the same era has been on exhibition for a week. The Museum also calls attention to the fact that a permanent exhibit of American ware has been in its possession for a long period, and includes some pieces intimately connected with the history of the University...
...students of Seventeenth Century English literature the publication of this book on the life and works of Katherine Philips by Dr. Souers will come as a welcome event. Orinda (this was the enchanting pseudonym under which Mrs. Philips went) was considered worthy by her age to be called the matchless, but posterity has not been so indulgent with its favor and consequently a reliable copy of her writings is now very rare. In his critical study of the poetess the author has included all of the important products of her none-too-fluent pen, especially her highly interesting letters...