The large bocio royal statues, once coated with magical substances, protect soldiers. These hybrid figures, half-man half-animal, bear the emblems of the kings: the cardinal with its flame-red feathers for King Ghézo, the lion for Glélé, and the shark for Béhanzin.

Before going into combat, the soldiers promised them victory and trophies for the box of courage. These large statues, which emphasise the superhuman nature of monarchs, sometimes led armies into battle and took part in the annual procession of the kingdom’s wealth.

Made in the Yoruba style, this monoxyle throne (carved from single blocks of wood) comes from Cana, twenty kilometres from Abomey. Considered sacred, this city was regularly visited by the kings of the dynasty for ceremonies and rituals. Some kings had second palaces in Cana. It also acted as a stopping place for prisoners destined for the slave trade in Ouidah, on the coast.

This work represents the king, surrounded by his servants, under a parasol overlooking a line of shackled slaves. The anonymous Yoruba artist exhibits the style, and origin, of a neighbouring region conquered by the Kingdom of Dahomey.

The walls and doors of the palace of Abomey were decorated with allegoric motifs alluding to the divinities of the Fon pantheon, to the great achievements of the kings, and to memorable historic events. These images compared the living king to his illustrious ancestors and voodoo divinities. These doors covered the openings on Glele's ajalala (palace).

During the ceremony for the late kings, the king sat on this throne placed on a rostrum. The sculptor was inspired by the Akan (Ghana) and Portuguese styles.