Round-bottomed jug with a bulbous body and high neck. The object has a slightly overhanging rim. The ceramic was smoothed on both sides, slurried, primed, painted and highly polished. The vessel has an orange-brown base colour, which is painted red and black. The rim is decorated on both sides with a wide red band. There are two circumferential friezes on the neck and body. They are separated from each other by three bands showing cross lattice structures. Both friezes have identical decorations. They consist of a meandering red band and black coloured areas containing "Kan crosses". The lower parts of the body are decorated with a surrounding red band. On the inside of the vessel there are several black lines running around the lower edge, the uppermost of which has a dotted line decoration. Symbolic meaning: Lothrop (1926) interprets "Kan crosses" as stylised snake eyes. In Classic Maya iconography, the same motifs are often associated with sky bands. According to Lothrop 1926: Nicoya polychrome ware. Cultural significance: the ceramics of the Mora group were produced in the north-west of Costa Rica and traded to the Central Highlands and the Atlantic region of the country. It uses design elements (seated anthropomorphic figures with headdresses, mat motif, Kan cross) that are also known from the Maya ceramics (Copador group) of the Clásico Tardío (900-600d.C.). The variant has been documented both in burials and in settlement contexts. Lange (1971) links the Mora pottery with the Bramadero Policromo type (1520-1200d.C.), which occurs in the Policromo Tardío (1520-1350d.C.). (Künne 2004)