Control is not force. Control is having decided, in advance, exactly where everything is going to be. The chair, the whip, the door behind me — none of it is improvised, and neither is a fifteen-racquet bag.
The Wilson Blade V10 15-racquet bag is the tour case, and it works because it is compartmentalised rather than cavernous.
Three main compartments keep racquets, kit and everything else apart, and two of them are thermally lined — which is not a gimmick: a car boot in July will slacken your string tension and turn your grips greasy, and a thermal lining is the only thing standing between your frames and that afternoon.
There is a ventilated shoe compartment, so footwear is not sharing air with your towel, and accessory pockets for grips, balls, dampeners and valuables. Padded backpack straps come as well as the shoulder strap, because fifteen racquets plus kit on one shoulder across a car park is how people acquire back problems.
This is a coach's bag, a touring junior's bag, or the bag of one very committed club player.
Tartu keeps its things in order too, and has done since the eighteenth century. The town hall was built between 1782 and 1789 to designs by Johann Heinrich Bartholomäus Walther, a master builder from Rostock — the third town hall on the site, its predecessors having burned.
Up on Toomemägi stand the cathedral ruins, begun in the thirteenth century after the hill fort was taken in 1224, once one of the largest brick churches in the region. Angel's Bridge, designed by the university's professor of architecture Johann Wilhelm Krause and completed in 1838, carries a portrait of Georg Friedrich Parrot.
And St John's, documented from 1323, is famous for terracotta sculpture — over a thousand figures once, unmatched in medieval Europe.
You will carry this everywhere from a February hall with the lights on at four in the afternoon to a June court by the Emajõgi, and it is also perfect for the climb up Toomemägi with a squad's frames on your back, over Angel's Bridge and into the ruins.
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