Originally, the hydria's purpose was for the collection of water, but it also held oil and the votes of judges.

[2] The design of the hydria allowed for the efficient collecting and pouring of liquids as it possessed three handles: two horizontal ones at its sides and a vertical one on its back.

[1] The vessel itself could be carried, and the vertical handle allowed the person to pour it easily, which aided in tasks such as diluting wine in a krater.

[5] The funerary ceremony was conducted by a royal official who recorded the name of the deceased, their origin, the date of burial and a general inscription.

[7] Its characteristics included a well-delineated shoulder, an articulated neck and an overhanging ring-shaped (torus) lip.

[7] The kalpis became popular during the 5th century BC and became the preferred vessel of choice for red-figure painters.

[7] This style developed during the Hellenistic period[5] and consisted of a wide squat neck, low pedestal and flaring base.

[5] These differed from whitewashed hadra hydria as they used dark brown or black paint for decoration, which was directly applied to the vessel's surface.

[6] The process began by "throwing" (from the Old English word thrownاا which means to twist or turn,[11]) the body of the hydria on a potter's wheel, starting with a large ball of clay.

[7] The neck, mouth and lip were thrown right side up, through a similar process of expanding a smaller lump of clay which was then thinned out and shaped.

[7] Once the vessel had dried to a leather hard stage, the potter inverted the hydria and began to turn it to form its base into its parabolic shape.

[6] The other parts of the hydria; the foot, handles and mouth were not hammered, but instead cast and attached through welding or soldering.

[10] The Caputi hydria provides insight into the role of working women in classical Athens.

[12] Notwithstanding the academic debate, scholars such as G. M. A. Richter and J. D. Beazley agree this proved the existence of female painters, and women in trades.

[12] Inscriptions noted on several hadra hydria in the Metropolitan Museum of Art contain the names of artists, potters, important historical figures and dates.

[13] These inscriptions are important as they provide contextual information that helps to establish the date of the pottery which contributes to its chronological timeline.

[13] Important figures that existed during that time are also highlighted which can fill information that written sources cannot provide.

[13] For example, on one hadra hydria, the inscription translates to "Year 9; Sotion son of Kleon of Delphi, Member of the Sacred Embassy announcing the Soteria; by Theodotos, agorastes".

[14] On the body of the hydria, it shows Hercules struggle with the Triton (otherwise known as Nereus or the Old Man of the Sea) with Poseidon and Amphitrite watching on the side.