Seated, anthropomorphic figure spreading her outstretched legs. The hollow, female figure is holding an infant in her left arm, which she appears to be breastfeeding. There are two opposing, round openings on the neck, which were used to suspend the object. The legs and buttocks have further small openings. The sculpture has a rattle ball. The ceramic was smoothed, slurried, primed, painted and polished. The primer and paint are partially eroded. The sculpture has a white-yellowish base colour, which was painted black and red. Although the posture and gesture clearly point to an anthropomorphic figure, the avimorphic head shape is reminiscent of a bimorphic being. The face and body of the figure are painted with broad lines. There is a pictorial field with geometric motifs on the buttocks. The creature is wearing a pubic bandage. Symbolic meaning: similar ceramics have been interpreted as toys (Holmes 1888: 152), as realistic sculptures (Stone 1958: 48), as ritual objects (MacCurdy 1911: 165) or as fertility symbols (Wassén 1966: 170 f.; Laurencich de Minelli 1966: 191). According to Holmes 1888: alligator ware. According to Lehmann: Chiriquí style. Cultural significance: seated female ceramic figurines carrying an infant were mainly documented in burials (Holmes 1888: 152; Laurencich Minelli 1966). Stone (1958: 48) reports that objects of this type were associated with iron objects. She therefore assumes that these ceramics were still being produced in the Diquís region (Pacífico Sur) after the arrival of the Spanish conquistadors. (Künne 2004)