Agostini (2011) discussed the pottery nucleus of São Sebastião on the northern coast of São Paulo, which was characterized by poor freedwomen's domestic production of pieces designed to be sold and even exported to Rio de Janeiro. In the earliest decades of the nineteenth century, these ceramicists were mainly white and mixed-race, with only 8 per cent being black. They formed a mixed-race population on the south-south-east coast known as caicara. Some themselves enslaved crioulos (mixed-race persons) and Africans of the Angola and Benguela 'nations'. As was the case in Pinheiros, many of the vessels they produced were decorated with a wide variety of incisions, and sometimes other techniques were also used in their decoration. Some referenced African styles and patterns, such as Makua scarification marks and short, sinuous lines and concentric semicircles, which Agostini linked to Africans from the Mozambique 'nation'. The documents used in this research do not, however, suggest that Africans from this 'nation' were involved in ceramic production. As the author notes, the main centre of consumption for these ceramics was the city of Rio de Janeiro, which is considered to have been the largest African city in the Americas during the period. In this sense, the production of ceramics with such motifs may have been aimed mainly at an Africanized market of consumers, which would include not only other groups of Africans, but also those of the Mozambique 'nation'. An additional aspect considered by the author is that the vessels may have served as a support for an aesthetic with African references reinterpreted in the diaspora, or even by other populations, such as the caicaras.