arrival of Apollo who, as Troilus' protector, represents a future threat to Achilles. He does not indicate what he thinks Hermes may be talking to Thetis about. The classicist and art historian Professor Thomas H. Carpenter sees Hermes as a neutral observer, Athena and Thetis as urging Achilles on, and the arrival of Apollo as the artist's indication of the god's future role in Achilles' death. As Athena is not traditionally a patron of Achilles, Sommerstein sees her presence in this and other portrayals of Troilus' death as evidence of the early standing of the prophetic link between Troilus' death and the fall of Troy, Athena being driven, above all, by her desire for the city's destruction. The standard elements in the pursuit scene are Troilus, Achilles, Polyxena, the two horses and the fallen vase. On two tripods, an amphora and a cup, Achilles already has Troilus by the hair. A famous vase in the British Museum, which gave the Troilos Painter the name by which he is now known, shows the two Trojans looking back in fear, as the beautiful youth whips his horse on. This vase can be seen at the Perseus Project site . The water spilling from the shattered vase below Troilus' horse, symbolises the blood he is about to shed. The iconography of the eight legs and hooves of the horses can be used to identify Troilus on pottery where his name does not appear; for example, on a Corinthian vase where Troilus is shooting at his pursuers and on a peaceful scene on a Chalcidian krater where the couples Paris and Helen, Hector and Andromache are labelled, but the youth riding one of a pair of horses is not. A later Southern Italian interpretation of the story is on vases held respectively at the Boston Museum of Fine Arts and the Hermitage Museum in St Petersburg. On the krater from c.380-70BC at Troilus can be seen with just one horse trying to defend himself with a throwing spear; on the hydria from c.325-320BC at , Achilles is pulling down the youth's horse. The earliest known depictions of the death or murder of Troilus are on shield bands from the turn of the 7th into the 6th century BC found at Olympia. On these, a warrior with a sword is about to stab a naked youth at an altar. On one, Troilus clings to a