Uman-ague is a badge in the form of an equal-armed cross. The cross with straight-sided arms is known as the “Greek cross,” while the type with V-shaped arms, narrowing toward the centre, is known as the “Maltese cross.”

Uman-ague is usually worn around the neck by members of the Ewua or by the Ohensa ( ). The equal-armed cross has various meanings: as a symbol of cosmic order, it represents the number four and references the “four cardinal points established by the High God Osanobua when he created the world” (Girshick Ben-Amos 1999, p. 64), as well as the “crossroads or junction that serves as the point of connection between the natural and spiritual worlds” ( ). Paula Girshick Ben-Amos ( ) also argues that when used on the Aken'ni Elao (altar tusk), the cross, together with the Ivie okpagbaru (royal bead), constitutes an “emblematic reference” to Ọba Ẹsigie.

The cross also references the Portuguese missionaries who brought Christianity to the Kingdom during the reign of Ọba Ẹsigie, although the symbol was already in use before the arrival of Europeans ( ). The Maltese cross is thought to have been introduced by Ọba Eresonyẹn as part of his efforts to encourage the worship of the High God Osanobua during his reign ( ; ). Regardless, Uman-ague is often associated with Ọba Ẹsigie.

Ẹzuzu (round hand fans) are usually carried by attendants to the Ọba or Iy’Ọba. On the Ama-Ẹrọnmwọn (bronze relief plaques), male attendants to the Ọba carry fans, whereas on Urhotọ (altar tableaux), female attendants carrying fans are depicted flanking the Iy’Ọba. Ẹzuzu connote the status of both the person being fanned and the holder, who is usually an attendant fanning the superior Ọba or Iy’Ọba. Usually, male attendants—members of the Emada—would be represented with the Ọba, while young women would attend to the Iy’Ọba. Ẹzuzu have an important function in cooling; however, the wafting of the fans can also calm spiritual energy, thus making the fan a symbol of peace ( ).

A further symbolic use for the Ẹzuzu includes blowing medicine across the surface of a fan and using mirrored fans by ritual specialists to make predictions about the future ( ). The symbolic importance of fans in Edo belief is reflected in their use as one of a small group of inanimate objects that are the focal subjects of some Ama-Ẹrọnmwọn.

In the 16th century, Ọba Ẹsigie established the title of Iy'Ọba (Queen Mother) in honour of his mother, Iy'Ọba Idia, for the crucial role she played in the Benin–Idah War (1515–16). She is often described as “the only woman who went to war” ( ).

The Iy'Ọba can usually be identified by her distinctive curved, conical hairstyle, known as Ukpẹ ọkhọkhọ, which is said to have been introduced by Iy'Ọba Idia (Kaplan 1993, p. 58). In addition, the Iy'Ọba was permitted to wear certain items of attire otherwise reserved for the Ọba, such as the Ewu ivie (coral-beaded shirt) and Ukpan obọ eva (crossed coral-beaded baldrics), as well as regalia associated with senior chiefs, including the Odigba (coral-beaded collar) and Udahae (coral-beaded forehead band) ( ).

Representations of the Iy'Ọba appear on ivory Emwin Arhe (royal treasures), including the five famous Uhunmwu-Ẹkuẹ (pendant masks) believed to depict Iy'Ọba Idia, as well as on a number of Aken'ni Elao (carved altar tusks). She is also represented in brass and bronze, including on Ikẹgobọ (altars to the hand) and Urhotọ (altar tableaux) made for Iy'Ọba shrines and altars ( ). In these representations, the Iy'Ọba is often accompanied by female attendants who form part of her retinue.

Figures of young men and women, often depicted nude except for waist beads, occur frequently throughout the visual language of Emwin Arhe (royal artefacts), particularly on Ama-Ẹrọnmwọn (bronze relief plaques), Urhotọ (altar tableaux), and Aken'ni Elao (carved tusks). These figures are typically shown attending or supporting high-status individuals such as the Ọba, Iy’Ọba, or warrior chiefs. Their smaller scale visually reinforces their subordinate status.

Attendants may carry symbols of state, such as the Ada and Ẹbẹn (ceremonial swords), on behalf of the Ọba; Ẹzuzu (fans), used to cool the Ọba and Iy’Ọba and to waft away evil spirits; or Asa (shields), held over the heads of higher-status figures to protect them from malevolent forces (Kaplan 2007, p. 149). Other attendants are shown carrying offerings, sometimes contained in specialised vessels such as Ẹkpoki (cylindrical boxes) or Orhiẹvbẹ (kola-nut bowls).

Ibierugha (male attendant figures) are distinguished by a characteristic crest-like hairstyle with a braided lock of hair falling over the left ear (Völger 2007, cat. no. 9, p. 279). The Ọba was typically attended by young men, while the Iy’Ọba was attended by young women. Attendants of both genders were usually provided with clothing by the Ọba or Iy’Ọba once they reached maturity, at which point the royal household would also arrange suitable marriage partners for them (Ezra 1992, p. 81).