[4] The amphora was made on a potter's wheel in three sections that were joined to form a single large vessel, standing at over five feet tall (1.55 m).The artist's construction was intended to fit the specific proportions of having the same height and width, and possessing a neck that's half of the body's length.

A specialist of ancient ceramics, Dr. Thomas Mannack, indicates that the style of the Geometric period derived certain aspects of the Protogeometric and intertwined new features, hence the separated bands on the neck and body of the pottery.

[6] The entirety of the vase, excluding the main frieze, is ornamented with precisely balanced patterns utilizing light and dark pigments; these decorative forms including meanders have been proposed by multiple scholars to be the invention of the very Dipylon Master.

[7] The belly of the vase between the handles is not only the widest section, but structurally the most delicate since the clay is the thinnest in width at that point, further dictating that the frieze within that format is the most important visual aspect of the scene.

[9] The Ancient Greeks had a plethora of inspiration from the surrounding regions' cultures, but the shift of political and social power presumably impacted the intake of artistic reference towards the Geometric style.

[10] These types of crafts were first thought to be integrated by the Dipylon Master within the Geometric style,[8] and would also elucidate why their works are amidst of some of the first figural scenes discerned on Greek vessels since the fall of the Mycenaean civilization.

[4] Alternatively, Jeffery M. Hurwit suggests that the vase not only received offerings, but served mainly as a commemorative piece; it symbolized the noblewoman's memorial monument and signified her tomb.

[5] This funerary monument's size emphasizes the seemingly elite status of the deceased who is also presumed to be a woman, due to the vases commonly indicating the gender: kraters for men and amphorae for women.

[4] The nearby figures surrounding the noblewoman are likely grieving friends and family; all of the members of the funeral are shown displaying a symbolic gesture of intense grief in which the hands are elevated towards the head.