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Plate 1 A seated man holding across his knees a limp infant with a jaguar-like face and a cleft head

Las Limas figure

A greenstone sculpture of a seated man holding a limp infant with a fantastic, jaguar-like face across his knees, found by two children at Las Limas, Veracruz, in 1965. The faces incised on its shoulders, knees and face became a starting point for naming the Olmec gods.

Olmec symbols. Also called las limas monument 1, las limas sculpture, señor de las limas.

Meaning

The Las Limas figure, also called Monument 1 of Las Limas or the Señor de Las Limas, is a seated man holding in his arms an infant with a fantastic face, carved with great care in green stone. It is 55 cm (22 in) high and weighs 57.4 kilograms, and the Museo de Antropología de Xalapa of the Universidad Veracruzana, where it is shown, calls it the largest Olmec greenstone sculpture known. It dates from the Middle Formative period, between 900 and 400 BC. The infant’s legs hang limp. Maliyel Beverido Duhalt, in the museum’s catalogue published by Arqueología Mexicana, thinks the man probably a priest, the incisions on his body sacred references, and the infant possibly an offering, a sacrifice. Las Limas lies 40 km south of the Olmec capital of San Lorenzo; it was settled by about 1000 BC and has some 900 mounds laid out round plazas and patios.

Origin and history

Two children of Las Limas found the figure by chance in 1965. From the way it is composed, the village took it for the Virgin with the Christ child in her lap and set it on an altar of the Virgin of Guadalupe, and it was the crowds of faithful drawn to this “virgin of green stone” that alerted the state authorities. Beverido calls it a piece venerated in two different times. It is now in the Museo de Antropología de Xalapa, and in 2021 it came home from nearly a year on loan to the Musée du quai Branly – Jacques Chirac in Paris.

The faces on the shoulders and knees

Profile heads with a cleft at the crown are incised in double lines on the man’s shoulders and knees. They share one shape and differ in the eyes, nose and lips. Hernando Gómez Rueda of INAH sets out the readings. Michael Coe identified four Aztec gods in them: the god of spring, the fire serpent, Quetzalcoatl and the god of death. The design incised on the man’s own face, two fantastic faces round his mouth and over his chin, has been called the maize god. The infant, for many scholars a rain god, has a jaguar-like face with wavy bands across the forehead and down the sides.

Coe and Peter David Joralemon identified the infant as the Olmec rain god, and Karl Taube writes that study of the Las Limas figure showed the Olmec had an array of distinct gods, not just a Were-jaguar rain god. Taube has since argued that Joralemon’s infant rain god, God IV, is more likely the seed stage of the Olmec maize god. Gómez Rueda would rather not name them yet. He relates the four profiles to the four corners of the cosmos, the points that mark the solstices, and points to the crossed bands on the infant’s chest.

A statue carried in procession?

Under the man’s arms are two perfectly round holes, about 3 cm across, which run through to the space under the infant’s back and are hard to see from the front. Gómez Rueda argues that they were made for a cord to carry the statue. He proposes that it was carried in procession at dates fixed by the sun, as some Maya communities today carry a statue from one temple to another at the solstices, and that the infant is offered in a sacrifice of children to bring rain, of which, he notes, there is evidence at El Manatí. Henri Noel Bernard Medina, director of the Xalapa museum, calls the travelling-cult idea a hypothesis still to be confirmed or ruled out.

What stone is it?

Arqueología Mexicana’s caption calls it jadeite; its text calls it serpentine, probably brought from the Motagua valley in highland Guatemala. Non-destructive tests in December 2021 by UNAM’s LANCIC laboratory, led by José Luis Ruvalcaba Sil, found that the main mineral is antigorite serpentine, which does not occur at Las Limas or near it. Bernard Medina names a large source at Tehuitzingo, in Puebla, but says comparisons are still needed. The tests also showed that the reddish-orange colour still visible between the teeth and in the mouth is cinnabar, a pigment the Olmec used. Bernard Medina adds that the figure was carved by a different and more skilled hand than the one, or ones, that made the incisions, which may be later and the work of more than one sculptor.

See also

Were-jaguar, Olmec maize god, Olmec colossal heads, Olmec dragon (earth monster), La Venta Altar 4.

Sources

  1. El Señor de Las Limas (Maliyel Beverido Duhalt, Arqueología Mexicana), Maliyel Beverido Duhalt, catalogue entry in Museo de Antropología de Xalapa, Arqueología Mexicana edición especial no. 22 (2006), Arqueología Mexicana (Editorial Raíces / INAH), object description and caption
  2. Las peregrinaciones del Señor de Las Limas (Hernando Gómez Rueda, Arqueología Mexicana), Hernando Gómez Rueda, “El Señor de Las Limas”, Arqueología Mexicana no. 19, pp. 58–61, Arqueología Mexicana (Editorial Raíces / INAH), article text and captions
  3. El Señor de Las Limas fue esculpido con serpentina antigorita (Universo, Universidad Veracruzana), Universo: Sistema de noticias de la UV, 27 February 2022, interviewing Henri Noel Bernard Medina, director of the Museo de Antropología de Xalapa, Universidad Veracruzana, article text
  4. The Rainmakers: The Olmec and Their Contribution to Mesoamerican Belief and Ritual (Karl A. Taube), Karl A. Taube, “The Rainmakers” (first published 1995), in Studies in Ancient Mesoamerican Art and Architecture: Selected Works by Karl Andreas Taube, vol. 2, pp. 69–97 (2022), Precolumbia Mesoweb Press, pp. 69–71, 79–85 and notes
  5. Olmec Art at Dumbarton Oaks: Introduction (Karl A. Taube), Karl A. Taube, Olmec Art at Dumbarton Oaks, Pre-Columbian Art at Dumbarton Oaks no. 2, revised digital edition, introduction, Dumbarton Oaks Research Library and Collection (Harvard University), introduction

The same shape elsewhere

Researched, edited and approved by Rory Hansen before publishing. Last reviewed October 9, 2026. How we research

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