The sixteen principal odu are the smaller half of the corpus. The larger half is the two hundred forty figures in which the two columns of the cast carry different patterns, and those take compound names built from the names of their two halves. Learn the sixteen and the naming system does the rest: any of the two hundred fifty six figures can be named on sight from the two patterns in front of you.
That is why an entry on Ika Meji, eleventh of the sixteen in the published sequence, is an entry on a component. The compound figures are not lesser or secondary; they are simply the cases where the two halves differ, and they carry as much of the tradition's working material as the matched sixteen do. Ika appears as one half of a great many of them.
Naming conventions for the compounds vary between sources and between regions, in the ordering of the two halves and in the contracted forms the names take in speech, which is one more reason a reader should expect variation between published tables rather than treat any one of them as definitive.
The atlas holds the sixteen principal figures because they are the structural index of the corpus and because they can be described accurately without reproducing anything held in confidence.
The verses gathered under Ika Meji, and the readings and prescriptions drawn from it, belong to initiated practice and are not reproduced here.