It is a small anthropomorphic statuette in coarse clay, depicting a female character in an upright position with her arms outstretched, one of which has her hand mutilated and remains only up to the elbow, where there is a hole probably because the missing hand. The fingers of the present hand are indicated by simple incisions. The two breasts appear in relief on the bust and at the height of the pubis there is an incision of about 13 mm. practiced on raw clay; the furrow continues to the back, where there is a small hole between the legs which probably served to fit a support to keep the statuette upright. The legs are slightly apart, while the feet are missing probably due to old breaks. Her face has eyes, nose and mouth roughly made with a pointed instrument, while on the sides of the head there are two protuberances, perhaps to represent the ears or a complex hairstyle. On the back side of the head a long tail or plait descends to the center of the back. The statuette is interpreted as a protective deity linked to a domestic cult, a hypothesis strengthened by the place of discovery, inside a hut, positioned in a space between the external wall and the roof of the house, it lay belly down on the beaten earth and covered by the weight of the collapse of part of the wall; next to the statuette were also found two miniature vases, a small cup with a handle in black clay and a small support in the shape of an hourglass, elements that suggest the existence of a domestic altar. The discovery of the figurines inside houses is not very common in Italy during the early Bronze Age, but it is possible to find other examples towards the late Bronze Age, used as protective spirits of the house, such as the specimens of Bologna-Villa Casarini , Coppa Nevigata, Rocavecchia and others (P. Cassola Guida, 2013).