"These are stumpy columns from fourteen to twenty-four inches high. Sometimes the flat surfaces have a ring between them and sometimes not. Both quartz and granite examples are characterized by extraordinary uniformity of shape and surface polish. Their single handles at the side, mostly broken off, is the strangest part." Frobenius comments especially upon the tendency of these objects to "monumental form." In this connection he says: "Following the lines of everything taught us in the development of historical art, I can not well help drawing the inference that this idea of working in stone was introduced by a people who felt themselves impelled to monumental expression."[26] The origin and variety of these carved objects in stone offer us a very interesting point, yet one may reasonably infer from his other statements that here in the Ilife, as in the Benin region, granite, quartz and hard stone materials are in their natural state very, very limited, if not altogether absent. Like Benin, Ilife is in the Niger delta region, and, as Frobenius points, is of rather a swampy character. It is a geological fact that hard stone in any quantity is seldom to be found in such regions. In addition to this, Frobenius, as was pointed out above, states that the foundations of the ancient buildings are of burnt brick rather than sun-dried brick or stone. It is very reasonable to suppose that hard stone, had it been in any way common to this area, would certainly have been used for building operations. One seems more or less justified in concluding, then, that the materials out of which the above-described objects were made were not of local origin. This circumstance is very important, for it seems to indicate that either these materials were imported from a distance and fashioned on the spot or else they were imported already in their finished form. If the first view be accepted, it would seem in a measure to account, on the one hand, for the obvious lack of skill on the part of the African artist as expressed in the archaic human and animal forms; but, on the other hand, it would, as is seen in the case of the "stools" mentioned above, seem to indicate a rather remarkable liberty and grace on the part of the Negro artist, implying his ability to become a master even when working with a comparatively unfamiliar material. For as Frobenius says, "the dexterity acquired in treating quartz and granite is very considerable. There is a quantity of eminently beautiful examples of such skill in this country."[27]