Ovaloid, neckless jug with a fragmented base. The object has been smoothed, slurried and primed on both sides. Its exterior is polychrome painted and highly polished. The ceramic has a white-yellowish base colour, which was painted red, orange and black-brown on the outside of the object. On the body, three upright, circumferential friezes with geometric motifs (rhombuses, guilloche motifs, triangles) appear, possibly indicating textile or wickerwork. Below this is a central, circumferential frieze consisting of six sectors. They show a highly stylised, bimorphic motif (snake?), which is repeated in variations. One image depicts an anthropomorphic face. The lower parts of the body are decorated with two surrounding red bands. Irregular traces of a white-yellowish primer are visible on the inside of the pottery. A circumferential black-brown band appears on the rim. Symbolic meaning: the guilloche motif is often interpreted (Ferrero 1975: 405) as two serpent's bodies intertwined. According to Lothrop 1926: highland polychrome ware, degenerated plumed serpent, type H and human face motifs. Cultural significance: the pottery of the Mora group was produced in north-west Costa Rica and traded to the Central Highlands and the Atlantic region of the country. The variant has been documented both in burials and in settlement contexts. It does not occur in Nicaragua. (Künne 2004)