io6 THE PARTHENON AND ITS SCULPTURES. (Fig. 91) inscribed "West front, 3 from northern end" ; 4, com- bat on foot, of which Pars also has a drawing (Fig. 92) ; 5, very like 3 ; 6, 7, and 8 are very decayed, but there is no doubt that 6 had a fo"ot combat. Mr Ebersole thinks that there was alterna- tion between rider and foot groups throughout, and thus as the next, 7, contained a rider, although the subject of 8 could not be made out, he decided that there could not have been a horse, and he suggested two warriors and a rock in the middle. This does not agree with the evidence of Pars' sketches, which show that 8 did contain a rider and fallen foe, although the subject was, even when he drew it, much defaced. (Fig. 93.) If 7, 8, and 9 formed a strong centre, all having horse-groups, the reason for reversing 11 becomes apparent, as it formed a pendant to 5, and the scheme from 4 to 12 becomes a balanced composition. Fig. loi. — Greeks and Persians : from Nike Temple. 10 is a combat on foot (Fig. 96). Of this one Leake remarked that the shield seems to be Persian, and Mr Ebersole's photo- graph shows the Persian " perme." 1 1 is a horseman facing to the left and a fallen foe. Pars gives a sketch of this. (Fig. 95.) 12 is nearly effaced, but enough remains to show that it followed 2. 13 is, again, like 3. 14 is a combat on foot, Beul^ properly described it as a Persian on his knees before an Athenian. Pars has a drawing of it. Mr Ebersole mistakes, I think, the action, in supposing that the arms of the fallen foe followed around the rim of the Greek's shield. The hands really caught at the arm of the Greek just above his own head. (Fig. 98.) This com- position is found repeated again and again on the Phigalean frieze, and on the vases. Since getting so far I have examined the two casts of the metopes against the north-west angle, and am confirmed in the
