The woodenheads kept in the Palace of Mankon are above all anthropomorphic and zoomorphic, but sometimes can be anthropo-zoomorphic, and even hybrid.

They can be divided into several categories with, naturally, varying margins of overlapping.

The zoomorphic masks catalogued are those of cattle, elephants, monkeys, birds and, more rarely, leopards and crocodiles.
The anthropomorphic masks can be divided into several sub-groups with countless sub-divisions. The commonest are the helmet masks. They often represent characters each with richly decorated hair and beard.
The most important and the most feared are those that appear only at the funeral of the fon and of some dignitaries of the kingdom or during certain periodic liturgies.

The heritage of Mankon includes a wide variety of pots, vases, cups, jars, bowls, jugs, pitchers, bags and other recipients (made of clay, wood or other materials) for different uses (ritual material, ceremonial objects, cooking utensils etc.). The pieces that are to keep, store or prepare cult or prestige products (camwood powder and different beverages for initiations, palm wine and oil for libations, sauces, tobacco etc.) are sculpted, woven or modelled with great care. They are decorated with geometric motifs or symbolic figures which can at times be exuberant. They are strictly reserved for the fon and the major dignitaries of the kingdom. The most characteristic recipients of the royal treasure can be divided into several groups:
- wooden recipients;
- clay, ivory and metal recipients and cups;
- basket ware;
- ritual bags and calabashes (beaded or not) , some of which are fixed on to a small sculpted seat; there is a variety of ritual bags which are often very highly decorated;
- pipes.

The pipe often includes in general a bowl that is open towards the top and bent back by a tubular chimney to receive a suction tube. The Mankon specimens are made of clay or metal (bronze, brass). Their decoration is extremely rich. The pipes with anthropomorphic or zoomorphic decorations are reserved exclusively for the fon and the major dignitaries. While some pipes were made in Mankon, the majority of the pieces were produced in other places. Mankon has not been and is not a major centre of production for such works. In addition, pipes were the object of intense trade between the different kingdoms of the Grassland.

In Mankon, various musical instruments are used in leisure and different activities of social life. They may be made of iron, ivory or wood, possibly with other materials such as animal hide. They are often decorated with motifs ranging from simple geometric figures to anthropomorphic and zoomorphic figures. They can be divided into several groups: idiophones (slit drums, rattles, gongs and sanza); membranophones (drums with a single hide), string instruments (less common); wind instruments (trumpets, flutes).

In daily life, during ceremonies and dances, the Mankon wear many different costumes and symbolic, ceremonial or prestige headdresses as well as flywhisks, staffs and ceremonial spears.
The shape and the decoration of each piece depends on the rank and social status of its owner.

Royal headdresses are richly decorated with figures of animals and valuable elements (cowries, beads). The most impressive and important of these headdresses is the ma komngang which only the fon of Mankon wears during the dance. The treasure of the fon includes royal costumes (in ndob nwa’ fabric, sometimes decorated with cowries), used for dances and, in general, as ritual garments par excellence. Ndob is the richest in meanings of the different Grassland fabrics.

The artistic objects of the Mankon palace have been produced with extreme aesthetic richness and expertise in the use of materials by talented artists (the majority of whom are sculptors) who are known and very respected by the whole community.

Certainly, the identity of the authors of almost one-third of this production still remains to be determined, but with the information already collected in the field, two-thirds of the remaining works were produced by artists of Mankon (about 50%) on the one hand, Ndop artists mainly (Babanki, Tungo, Babungo, Bamessing) and a few rare Bamoum and Bangwa on the other.

Certain Makon artists that have been identified are still alive, However, many others are dead and have left us these excellently crafted objects which we can admire today: Ndzah; Moses Tse Wamuchu; Ivo Tse Akor; Suka Nso; Tsi Aghazüga, etc. and women who are excellent at basket ware and pottery.

The Mankon artist, producer of royal and noble works or those of great value, is in the first place a keeper of tradition. He is also ion the avant-garde of innovation. The production of orders in compliance with the traditional model does not exclude personal research and the inventive spirit of the creator. The latter has received solid training and a long learning (generally lasting more than fifteen years, to become a master. He has a great capacity of abstraction and synthesis and maintains a balance between naturalism and realism.