Legs of a standing, anthropomorphic sculpture. The hollow figure places both hands on its thighs. The glued object has been smoothed, sanded, primed, painted and polished. The primer and paint are partially eroded. The arms, body and head are fragmented. The pottery has a white-brownish base colour, which is painted red and black-brown. The legs were coloured red except for two rectangular areas. The square sectors show diagonal line bundles and dots that imitate textile or wickerwork. Ferrero (1975) and Healy (1980) mention seated and standing anthropomorphic figures that can wear an open or closed headdress. Symbolic meaning: Stevenson-Day (1997) interprets the female sculptures of the Mora 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 Mora group show greater representational schematism compared to the anthropomorphic sculptures of the zoned bicoloured pottery (Rosales Esgrafiado) and the Policromo Antiguo (Galo Policromo group). (Künne 2004)