Ẹyẹn (snakes) are among the most common animals depicted by Edo artists on the Emwin Arhe (royal treasures). The varied depictions of these reptiles suggest different snake species, including the Ikpin (python), Arhunmoto (puff adder), and Olose (red-black striped snake); therefore, here we use the generic term for snake: Ẹyẹn.

The identification of snake motifs and depictions as Ikpin, as well as the importance accorded to this species, is a subject of scholarly debate. Paula Ben-Amos (1976, p. 247) argued that the Edo admired the “stature, colouration and crushing power” of the python, which was in turn associated with Olokun. She went on to identify the brass figures of snakes that formerly adorned the roof of the palace, as well as several other snakes, as pythons. Joseph Nevadomsky (1988, p. 77) argued instead that the importance of the Ikpin had been overstated.

Some of these snake representations may in fact be the Arhunmwoto (puff adder). The first to suggest this was the German curator Felix von Luschan (1919) in his early research into the Benin royal treasures. Nevadomsky (1988, pp. 79–80) suggested that the large head, narrow neck, and rough scales are indicative of either the puff adder, a symbol of “material wealth, tribute, and gifts,” or the Gaboon viper.

Another kind of snake that may be depicted is the Olose (red-black striped snake). It has the praise name “king of the snakes” in Edo. Olose is also closely connected to the deity Olokun, both because of its attractiveness and because it inhabits wet environments such as forest streams, which in turn flow into rivers and the sea, where Olokun lives (Nevadomsky 1988, pp. 76–77). Although the exact meanings of these different snakes vary, they share the characteristic of being spiritually powerful creatures.

The Ẹrokhi (chameleon) carries several distinct and often potent meanings. The reptile is primarily associated with supernatural power, transformation, and long life, and is often depicted on objects associated with Osun, the deity of medicine. It is also considered one of the symbols of this deity ( ).

The supernatural power and transformative associations with the Ẹrokhi relate to the way the animal is seen as a symbol of the bush, due to its ability to camouflage itself. This capacity for camouflage has led to parallels being drawn between the Ẹrokhi and the Edo army, suggesting their ability to appear and disappear, as well as to adapt strategically. The skin of the Ẹrokhi is also believed to be poisonous, and the animal is associated with long life, as well as with the belief that anyone who depends on Osun will not die in battle.

Osogan (Osun staffs) decorated with Ẹrokhi walking up the length of the staff were carried into battle by Osun specialists, who walked ahead of the army, conveying their spiritual power and potency against the enemy. The praise name for these staffs is ‘osun-nigiogio’ (medicine hot-hot), indicating the dangerous and potent beliefs surrounding these staffs, to which chameleon motifs contribute ( ). Overall, the chameleon is a complex symbol that reinforces themes of mystical potency, endurance, and the transformative power wielded by the Ọba and those associated with Osun.