Small jug with a domed base, deep rim and short, slightly overhanging neck. There are several bead-shaped supports on the rim. The pottery is smoothed and slipped on both sides. The outside has been primed, painted and polished. The paint and primer are slightly eroded. The object has several chips on the rim and at the edge. The pottery has a white-reddish base colour, which was painted red, black-brown and brown on the outside of the vessel. On the body there is a frieze running around the shoulder, which is bordered by horizontal black lines. It consists of four panels. Two panels show a "Kan cross" with a concentric circle in the centre. In the other panels there is a highly stylised depiction, possibly representing an eye mask. The motif appears to be repeated several times at the edge. The base and the inside of the neck of the vessel were painted red. Symbolic meaning: Lothrop (1926) interprets "Kan crosses" as stylised snake eyes. In Classic Maya iconography, the same motifs are often associated with sky bands. Cultural significance: the ceramics of the Mora group were produced in north-west Costa Rica and traded to the Central Highlands and the Atlantic region of the country. It uses representational elements (seated anthropomorphic figures with headdresses, mat motif, Kan cross), which 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)