Deep, round-bottomed bowl. The object has been smoothed, slurried, primed, painted and polished on both sides. The primer and paint are partially eroded. The reconstructed vessel was assembled from several shards. There is a flake on the rim. The ceramic has an orange-brown base colour, which is painted red and black-brown. A black-brown band runs along the edge of the object. The entire outside of the bowl has been decorated. Four red and four orange-brown fields alternate on the wall. The orange-brown, trapezoidal panels are decorated with horizontal, black-brown lines and red bands. Two pairs of lines have opposing dots that simulate a negative wave band. The red, triangular panels have a concentric circle in their centre, which is surrounded by a wavy band ("flower motif"). All red sectors are connected by lines at the bottom of the vessel. Two orange-brown wallpapers are united at the bottom by a rectangular picture field, which echoes the negative "wave motif" of the trapezoids on the sides. On the inside of the vessel wall there are two upright red bands running round the inside. 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 jugs of the Cinta variant are reminiscent of vessel forms from the Gillén Negro sobre Café Claro group. (Künne 2004)