Ebe Amẹ refers to a wide variety of plants, particularly the leaves of the water fern or river leaf, found in riverine areas of southern Nigeria ( ). Artists from the Igun-Ẹrọnmwọn used these as a decorative motif in the background of most Ama-Ẹrọnmwọn (bronze relief plaques). The petals of the Ebe Amẹ, like the points of the ἀghàdàgháda (crossroads), represent the four cardinal directions: north, east, south, and west. The number four plays a foundational role in the Edo calendar, which is structured around four market days ( ).

Ẹguẹn are worn by the Ọba and chiefs as part of their Ehaengbehia, the full regalia worn during special ceremonies. Ẹguẹn are worn around the ankles or calves and can be made from beads, ivory, brass or even iron. A separate category, called Elubase, refers to those which have integrated rattles or crotal bell attachments, however both are described as anklets in English.

As early as 1899, Read and Dalton commented that the anklets worn by figures shown on plaques were a signifier of high rank. Today, anklets continue to signify social status, with the Ọba wearing many ivory and coral anklets stretching up his calves as part of his ceremonial regalia (Okpokunu, Agbontaen‐Eghafona & Ojo, 2005, p.162[106]). However, anklets were not the preserve of the Ọba alone, and different kinds and quantities were worn by other members of the royal court and Edo people. For example, Flora Kaplan (2006, p.85[107]) described a photograph of Iy’Ọba Aghahowa N’Errua, who took her title in 1981, in which she wears coral anklets as one of a number of insignia of her newly invested high rank. In contrast, brass anklets would be worn by young male attendants to the Ọba (see attendant figure), such as sword bearers or Emada pages (Kaplan, 2006, p.90[107]).

Akọn Ẹkpẹn are necklaces or neck ornaments made of strung leopard’s teeth. They are worn by figures to signify their high rank and military prowess, as well as by their leaders, the Ezọmọ or Iyasẹ. They are often worn alongside quadrangular Ẹroro (bells) and Ohian Ẹkpẹn (leopard tunics).

The Akọn Ẹkpẹn is clearly and profoundly related to the symbolism of the Ẹkpẹn (leopard) and its association with the Ọba (king), who is metaphorically referred to as ‘ẹkpẹn ne owa’, the ‘leopard of the home’. On the other hand, the Ẹkpẹn is often referred to as the ‘king of the bush’, embodying ferocity, aggression, strength, and leadership—qualities attributed to the Ọba (Nevadomsky 1988). This intricate link between the leopard, the monarch, and his military leaders reinforces the complex hierarchy and spiritual authority central to Benin’s courtly art.

In the riverine area surrounding Benin City, there are two types of crocodile. The Ẹghughu, known in English as the dwarf or bush crocodile, is believed to be more docile ( ; Ọbazee 2025, p. 133). The second type is the Àgbákà, the aggressive Nile crocodile ( ; Ọbazee 2025, p. 11).

Crocodiles are one of the important animals represented in the historical Emwin Arhe, and they are known as Olokun’s guards or the “policemen” of the waters. The powerful and ferocious qualities of these animals might explain why warrior figures are often depicted wearing Uhunmwu-Ẹkuẹ (pendant masks) in the shape of crocodile heads on Ama-Ẹrọnmwọn (bronze relief plaques) ( ). Olokun devotees use crocodiles as sacrificial animals in offerings during the worship of Olokun.

Asoro (spears) were used as weapons in battle and for hunting ( ; Ọbazee 2025, p. 37). According to , there were two types: long and short. Figures holding Asoro are often depicted on Ama-Ẹrọnmwọn (bronze relief plaques), sometimes in battle scenes and at ceremonies and festivals.

Asa (shields) are a crucial attribute of warriors and warrior chiefs, forming part of their ceremonial and battle attire as represented on the Emwin Arhe (royal treasures). Asa were usually made from elephant or crocodile skin and used by warriors for protection during hand-to-hand combat (Osadolor 2001, p. 102). Interestingly, the form of Asa depicted on historic royal artefacts differs from those found in museum collections today, reflecting changes in shield shapes and designs over time.

Ikoro (armcuffs) are made from different materials using different techniques, including brass sheet, cast bronze, and ivory. They were crafted by different guilds depending on the material used: artists of the Igun-Ẹrọnmwọn cast them in brass or hammered and incised them from brass sheet, whereas artists of the Igbesamwan carved ivory Ikoro. Ikoro were made in different qualities, from rather simple examples with abstract geometric decoration to finely carved ivory examples with brass or copper inlays. Ikoro are worn in pairs on both forearms by chiefs and the Ọba during ceremonies and festivals. Figures depicted on the Emwin Arhe (royal treasures) are often shown wearing such pairs.

Odigba (coral-beaded collar) is a rigid neck collar made of coral beads, worn as part of ceremonial attire only by senior princes who have been made Enigie (Inneh 2007, p. 107). Although Ibafe (2007, p. 43) argued that the Odigba was introduced during the Ogiso period (c. 900–c. 1170 AD) by Ogiso Ere, along with other symbolically important Emwin Arhe, such as the Ada (ceremonial sword) and the Ẹbẹn (ceremonial sword), this seems unlikely, as coral was only introduced in the late 15th century through trade with Portuguese merchants.

Ẹroro (bells) frequently appear as ornaments worn by figures depicted on the Emwin Arhe, particularly on Ama-Eronmwon (bronze relief plaques) and Aken’ni Elao (carved tusks). These Ẹroro are most commonly quadrangular in form or, less commonly, cylindrical with rounded tops. Quadrangular Ẹroro worn around the neck are often part of the attire that indicates that figures can be interpreted as warriors, alongside the Akọn Ẹkpẹn (leopard tooth neck ornament) and the Ohian Ẹkpẹn (leopard tunics).

Uko ugbo-ohamwen is a chest band often worn around the chests of warriors depicted on the Ama-Ẹrọnmwọn (relief plaques) and is fortified with charms. The band was worn to increase the strength and endurance of warriors ( ). This fortified chest band has also been referred to as ukugba olila (Ine n’Igun in Bradbury 1959, B.S. 245; ; ).