and impressions of seals on cuneiform documents. Royal seals from the Puzur-Ashur dynasty of kings, prior to the rise of Shamshi-Adad I, are very similar to the seals of the kings of the Third Dynasty of Ur. In the Middle Assyrian period, from Ashur-uballit I onward, seals looked quite different and appear to emphasize royal power, rather than the theological and cosmic sources of the king's right to rule. Among non-royal seals of the Middle Assyrian period a wide assortment of different motifs are known, including both religious scenes and peaceful scenes of animals and trees. From the time of Tukulti-Ninurta I onward, seals also sometimes featured contests and struggles between humans, various animals, and mythological creatures. Several other new artistic innovations were also made in the Middle Assyrian period. In the temple dedicated to Ishtar in Assur, four cult pedestals (or "altars") from the time of Tukulti-Ninurta I have been discovered. These altars were decorated with various motifs, common inclusions being the king (sometimes multiple times) and protective divine figures and standards. One of the pedestals preserves along the lower step of its base a relief image which is the earliest known narrative image in Assyrian art history. This relief, which is not very well-preserved, appears to depict rows of prisoners before the Assyrian king. The earliest known Assyrian wall paintings are also from the time of Tukulti-Ninurta I, from his palace in Kar-Tukulti-Ninurta. Motifs included plant-based patterns (rosettes and palmettes), trees and bird-headed genies. The colors used to paint the walls included black, red, blue, and white. An unusual limestone statue of a nude woman is known from Nineveh from the time of Ashur-bel-kala (1074–1056 BC). An entirely new type of monument introduced in the 11th century BC were obelisks; four-sided stone stelae decorated all around with both images and text. Obelisks saw continued use until at least the 9th century BC. Compared to other periods, a larger amount of artwork survives from the Neo-Assyrian period, particularly monumental art made under the patronage of the kings. The most well-known form of Neo-Assyrian monumental art are wall reliefs, carved stone artwork that lined the internal and external walls of temples and palaces. Another well-known form of Neo-Assyrian art are colossi, often human-headed lions or bulls (lamassu), that were placed at the gates of temples, palaces and cities. The earliest known examples of both wall reliefs and colossi are from