Small, seated, anthropomorphic figure with both arms on its hips. The headdress and legs of the hollow sculpture are completely fragmented. There is a round opening at the back of the head. An eyelet was added to the back of the neck, which was probably used for suspension. The object has been smoothed, slurried, primed, painted and polished. The primer and paint are partially fragmented. The sculpture has a white-brownish base colour, which was painted black-brown and red. There are geometric motifs on the chest and upper arms that imitate textile or wickerwork. The back of the figure remains undecorated. Symbolic meaning: Stevenson-Day (1997) interprets the female sculptures in the group as shamans. According to Lothrop 1926: highland 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 anthropomorphic figures of the Guabal variant show greater representational schematism compared to the anthropomorphic sculptures of the zoned two-colour pottery (Rosales Esgrafiado) and the Policromo Antiguo (Galo Policromo group). Similar objects were mainly found in burials. (Künne 2004)