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541:. Its decoration often depicted mythological stories and scenes of daily life. The inscriptions provide information such as the potter's name, date and purpose of the hydria. Inscriptions can increase scholarly understanding of Ancient Greek culture, and its development over time, as well as help create a chronological timeline of the development of pottery in Ancient Greece. Decorations can also highlight the particular use of the hydria. For example, bronze hydrias decorated with figures relating to love were gifts to brides, whilst those decorated with Dionysus, were used by men at gala dinner parties.
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also highlighted which can fill information that written sources cannot provide. 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". From this inscription, a date can be approximated, which was 212 BC. insight into the political offices that existed is also provided, as well as the names of government officials.
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shape of the hydria was altered in the 5th century BC from having a wide body and broadly rounded shoulders, to a design that incorporated flatter shoulders that met the body at an angle. This was done to ease the task of carrying water to and from the home and places of gathering. 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
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426:. This clay ball would be formed into a tall cylinder and then expanded outwards through the use of the potter's hands. With one hand on the outside and one on the inside, the potter's hands would press together and form the upward curve of the hydria. At the shoulder level, the potter would smooth the clay inwards, forming the base of the neck. The shoulder was then smoothed out with a
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Beginning with two sheets of bronze, the thin walls of the bronze hydria are hammered and shaped. Bronze hydrias with a pronounced shoulder were hammered in two parts. First, a metal disk was shaped to form a neck. Then, a tube flaring at both ends was welded to where the shoulder met the neck of the
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The hydria has three handles, two horizontal ones at its sides and a vertical one on its back. The horizontal handles were pulled from balls of clay which were then attached below the shoulder on the hydria. The handles were cylindrical and upturned. The vertical handle was also pulled from a ball of
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contain the names of artists, potters, important historical figures and dates. These inscriptions are important as they provide contextual information that helps to establish the date of the pottery which contributes to its chronological timeline. Important figures that existed during that time are
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The Caputi hydria provides insight into the role of working women in classical Athens. Due to the lack of written sources surrounding working women in Athens during the 5th century BC, it was noted that women in trades were non-existent and confined to household duties. However, the Caputi hydria
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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. Once a short cylinder was formed, the clay was then angled outward to form the lip of the hydria. The lip was rounded with a sponge and the neck,
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Originally, the hydria's purpose was for the collection of water, but it also held oil and the votes of judges. 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. The
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It is a type of water-carrying vessel, but it had many other purposes. As time progressed the hydria developed into many forms, some of which were smaller or of a different material. These variants were decorated with detailed figures to represent Greek mythological stories, as well as scenes of
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depicts women decorating a vase in a pottery workshop, although scholars have debated whether it was a metal workshop. Notwithstanding the academic debate, scholar such as G. M. A. Richter and J. D. Beazley agree this proved the existence of female painters, and women in trades.
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between the shoulder and the neck. The potter would place his hand inside the hydria where the shoulder joined the neck and apply the slip which bonded both the neck and the shoulder. The joining was smoothed out to remove any signing that the sections had been joined.
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and competitions. This is evident from the painted scenes on vases that illustrate victors carrying a hydria as a reward and inscriptions that identified the bronze hydria as a prize. The high value of a bronze hydria meant it could also function as a dedication to
358:. The second class of hadra hydria are named "Clay Ground". 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. "Clay Ground" hadra hydria were produced in
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669:. The central figure represents the herald Idaios, who tries to interrupt the battle. The reliefs on the Friedlaender hydria and its shape help to place it chronologically in the 6th century BC and establish a timeline for different series of hydrias.
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painters. The kalpis differed from the hydria as it was typically smaller in size, ranging from 25 cm to 42 cm, and its body, shoulder and neck had a continuous curve. Another term associated with a small hydria is hydriske (also called
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and consisted of a wide squat neck, low pedestal and flaring base. Rather than being cylindrical, the hadra hydria's vertical handle was ribbed and its side handles were gently curved. They were named hadra hydria after the suburb "Hadra" in
296:) lip. The hydria was manufactured with three handles: two horizontal ones at its sides and a vertical one on its back. It ranged from 33 cm to 50 cm in height and it was glossed on the outside and not on the inside.
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and the presence of rivet holes found on its rim. Having a lid meant the bronze hydria could act as a funerary urn. There are over three hundred and thirty bronze hydria known, including both complete and incomplete vessels.
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containing ashes. This function was primarily associated with the hadra hydria. 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
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The foot was thrown upside down, through a small ball of clay which was spread outwards. The potter would use his thumbs to shape the walls of the foot whilst using his fingers to round the edge of the foot, giving it a
519:. For its decoration, the bronze hydria was polished, as it created a bright sheen and lustre, but silver inlays were also used for its decoration. Its handles were sometimes decorated with patterns or objects, such as
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325:) which is a diminutive for small hydria. Its vertical handle was cylindrical, attached at the lip rather than the rim, and possessed an in-curved rim compared to the torus lip of the earlier hydria.
649:, longtime companions of Hercules. On its shoulder, five figures are about to engage in battle. The central figure of the five is a herald, whilst the figures on either side are dressed with
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Developed from the 4th century BC onwards, the bronze hydria was a prized form of the hydria. It had a shallow neck and a capacious body. It was highly polished and was often decorated with
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shape. It was cut off the potter's wheel and left to dry. Once dried, it was attached to the rest of the hydria through the application of a slip.
219:(3rd century BC). The etymology of the word hydria was first noted when it was stamped on a hydria itself, its direct translation meaning 'jug'.
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during the 6th century BC. Its characteristics included a well-delineated shoulder, an articulated neck and an overhanging ring-shaped (
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hydria. The other parts of the hydria; the foot, handles and mouth were not hammered, but instead cast and attached through
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clay but it was centre-ridged and oval shaped. It was attached at the lip and shoulder of the hydria. The handles were then
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Mythological stories were often painted onto the hydria, as well as scenes of daily life, such as the collection of water.
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The earliest form of the hydria was a large, round shouldered, full-bodied vessel. This shape was commonly used for
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Once the body and neck had dried, they had to be joined. This was completed through the application of a
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The kalpis became popular during the 5th century BC and became the preferred vessel of choice for
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Medium-volume container varying from 25cm to 50 cm, able to be carried by one or more people.
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decoration, a feature that is absent from the other forms of the hydria. These were produced in
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hydria is decorated with multiple mythological reliefs. On the body of the hydria, it shows
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Venit, Marjorie Susan (1988). "The Caputi Hydria and
Working Women in Classical Athens".
771:. Elston, Maya., Hart, Mary Louise. Los Angeles: J. Paul Getty Museum. pp. 114β116.
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History of
Ancient Pottery... Illustrated with coloured plates and numerous engravings
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watching on the side. Two more figures reside on the left of
Hercules, identified as
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stage, the potter inverted the hydria and began to turn it to form its base into its
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Tzachou-Alexandri, Olga E. (2002). "A kalpis from
Piraeus Street by Polygnotos".
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1008:. J. Paul Getty Museum. Malibu, Calif.: J. Paul Getty Museum. pp. 114β125.
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Callaghan, P.J. (1983). "Three Hadra
Hydriae in the Merseyside County Museums".
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mouth and lip were cut off the wheel and left to harden. Similar to the neck
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Richter, Gisela M. A. (1946). "A Fourth-Century Bronze Hydria in New York".
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1256:. New York: Metropolitan Museum of Art (New York, N.Y.). pp. 20β30.
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Understanding Greek vases : a guide to terms, styles, and techniques
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The contribution of the hydria is displayed through its decoration and
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behind
Amymone suggests that the scene was probably inspired by a
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von
Bothmer, Dietrich (1974). "Two Bronze Hydriai in Malibu".
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Typical design of the kalpis, a shorter variant of the hydria
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Painters would sometimes inscribe their name onto the hydria.
1167:"Why On Earth Do They Call It Throwing? | Contractor Quotes"
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which means to twist or turn,) the body of the hydria on a
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Pedley, John
Griffiths (1970). "The Friedlaender Hydria".
712:"Greek Hydriai (Water Jars) and Their Artistic Decoration"
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Athenian vase construction : a potter's analysis
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30:"Kalpis" redirects here. Not to be confused with
1342:Glass hydriske at the Metropolitan Museum of Art
1347:Glass hydriske at the Art Institute of Chicago
856:Bulletin of the Institute of Classical Studies
211:) is a form of Greek pottery from between the
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223:daily life, providing extensive insight into
16:Type of Greek pottery used for carrying water
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1086:. Abingdon, U. K.: Routledge. p. 237.
502:by hand rather than on the potter's wheel.
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1352:Glass hydriske at the Toledo Museum of Art
1039:The Annual of the British School at Athens
410:The process began by "throwing" (from the
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581:. By the Hippolytos Painter. 375β350 BC.
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868:10.1111/j.2041-5370.1983.tb00441.x
609:List of Greek mythological figures
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802:Classical World: All That Matters
1165:Krueger, Dennis (12 June 2019).
920:The J. Paul Getty Museum Journal
569:between them. The presence of a
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333:This style developed during the
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468:Once the vessel had dried to a
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279:Earliest design of the hydria
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800:Blanshard, Alastair (2015).
168:Bronze hydria / kalpis with
258:hydria acted as a prize in
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1562:Perfume, oil, and wedding
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527:Contribution and examples
397:Glossary of pottery terms
215:(7th century BC) and the
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1748:Ancient Greek pot shapes
1004:Schreiber, Toby (1999).
181:Vassil Bojkov Collection
19:For the moth genus, see
599:The Friedlaender hydria
430:to remove any throwing
1623:Funerary and religious
1252:Cook, Brian F (1966).
767:Clark, Andrew (2002).
739:Birch, Samuel (1873).
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804:. : John Murray.
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1712:Band skyphos
1640:Loutrophoros
1594:Loutrophoros
1484:
1402:Wine vessels
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1174:. Retrieved
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615:black-figure
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539:inscriptions
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470:leather hard
467:
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329:Hadra hydria
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122:19th century
36:
1614:Stirrup jar
1045:: 297β308.
533:Ceramic art
412:Old English
265:sanctuaries
260:tournaments
252:inscription
1737:Categories
1569:Alabastron
1424:Karkhesion
690:References
679:Aquamanile
639:Amphitrite
603:See also:
575:satyr play
531:See also:
432:striations
395:See also:
348:Polychrome
340:Alexandria
314:red-figure
187:, Bulgaria
143:Red-figure
119:Discovered
53:A hydria,
1717:Epinetron
1574:Aryballos
1546:Tableware
1419:Kantharos
1312:0073-0688
1298:: 45β53.
1220:0009-8418
1152:193102013
1136:0002-9114
1067:177582456
1059:0068-2454
926:: 15β22.
876:0076-0730
820:953851954
521:palmettes
517:soldering
500:burnished
384:soldering
344:whitewash
323:hydriskai
321:, plural
319:hydriskos
152:BC, from
1666:Calathus
1635:Lekythos
1589:Lekythos
1553:Pinakion
1525:Cookware
1490:Hydriske
1449:Oenochoe
1355:Archived
1024:38179875
787:48131752
673:See also
635:Poseidon
619:Hercules
579:Atalanti
559:Poseidon
557:Hydria.
428:rib tool
416:thrownاا
376:Dionysus
231:Function
145:hydria,
66:Material
1722:Luchnos
1696:Stamnos
1661:Amphora
1654:Storage
1469:Skyphos
1459:Psykter
1439:Lakaina
1429:Kyathos
1409:Amphora
1228:4350194
932:4166307
749:1358252
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629:or the
577:. From
565:, with
563:Amymone
513:welding
493:Handles
464:Turning
451:Joining
445:amphora
401:Pottery
209:hydriai
154:Paestum
127:Culture
98:Created
90:Symbols
82:Writing
1691:Situla
1686:Pithos
1681:Pelike
1645:Phiale
1630:Kernos
1604:Pelike
1599:Lydion
1516:Krater
1495:Kalpis
1485:Hydria
1464:Rhyton
1454:Pelike
1444:Mastos
1414:Kotyle
1320:310997
1318:
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1262:747044
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721:22 May
659:Hector
647:Athena
643:Hermes
627:Nereus
623:Triton
378:and a
308:Kalpis
284:Hydria
256:bronze
254:. The
239:krater
193:hydria
158:Louvre
42:Hydria
32:Calpis
1705:Other
1676:Lebes
1671:Chuta
1609:Pyxis
1579:Askos
1537:Lebes
1532:Chuta
1511:Dinos
1434:Kylix
1316:JSTOR
1224:JSTOR
1148:S2CID
1140:JSTOR
1063:S2CID
928:JSTOR
667:Iliad
571:Satyr
487:Torus
414:word
380:satyr
360:Crete
356:tombs
352:Egypt
294:torus
271:Types
201:α½Ξ΄ΟΞ―Ξ±
197:Greek
185:Sofia
170:siren
1308:ISSN
1258:OCLC
1216:ISSN
1178:2020
1132:ISSN
1088:ISBN
1055:ISSN
1020:OCLC
1010:ISBN
872:ISSN
816:OCLC
806:ISBN
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773:ISBN
745:OCLC
723:2020
684:Olla
663:Ajax
661:and
645:and
637:and
607:and
567:Eros
561:and
480:Foot
457:slip
424:clay
406:Body
399:and
191:The
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1300:doi
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864:doi
515:or
247:urn
205:pl.
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