Ovaloid, neckless jug with a rounded base. The object has been smoothed and slurried on both sides. Its exterior is primed, painted and lightly polished. The primer and paint are partially eroded. There is a missing part on the body. The pottery has an orange-brown base colour, which is painted red and black on the outside of the vessel. The rim is decorated on both sides with a wide red band. On the outside of the vessel wall there are several upright, circumferential lines with line decoration. Below this appears a central, all-round frieze. It shows a horizontal row consisting of "Kan crosses", grid structures and short, vertical wavy lines. The ornamental band is bordered by two horizontal black lines with a line decoration. The deeper parts of the body are decorated with two surrounding red bands. The inside of the object remains undecorated. Symbolic meaning: Lothrop (1926) interprets "Kan crosses" as stylised snake eyes. In Classic Maya iconography, the same motifs were 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 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)