The stele of which we have been speaking is unique, but of another peculiarly Assyrian type there is no lack of examples, namely, of that to which the name _obelisk_ has, with some want of discrimination, been applied. The Assyrian monoliths so styled are much shorter in their proportions than the lofty "needles" of Egypt, while their summits, instead of ending in a sharp pyramidion, are "stepped" and crowned with a narrow plateau. (Fig. 111.) These monoliths were never very imposing in size, the tallest is hardly more than ten feet high. [Illustration: FIG. 110.--Stele from Khorsabad. Plan and elevation; from Place.] [Illustration: FIG. 111.--The obelisk of Shalmaneser II. in the British Museum.[323] Height 78 inches. Drawn by Bourgoin.] Whatever name we choose to give to these objects, there can be no doubt as to their purpose. They are commemorative monuments, upon which both writer and sculptor have been employed to celebrate the glory of the sovereign. A long inscription covers the base of the shaft, while the upper part of each face is divided into five pictures, the narrow bands between them bearing short legends descriptive of the scenes represented. It was, of course, important that such figured panegyrics should be afforded the best possible chance of immortality; and we find that most of these obelisks are composed of the hardest rocks. Of the four examples in the British Museum, three are of basalt and one only of limestone. [Illustration: FIG. 112.--Rock-cut Stele from Kouyundjik. British Museum.] Another type of stele in frequent employment was that with an arched top and inclosing an image of the king. It is often represented on the bas-reliefs[324] (Fig. 42), and not a few examples of it are in our museums. When we come to speak of Assyrian sculpture we shall have to reproduce some of them. We find a motive of the same kind, but more ornate and complicated, in the bas-relief from Kouyundjik figured above (Fig. 112). A hunting scene is carved on a wall of rock at the top of a hill. A lion attacks the king's chariot from behind; the king is about to pierce his head with an arrow while the charioteer leans over the horses and seems to moderate the determination with which they fly.[325] The sculpture is surrounded by a frame arched at the top and inclosed by an architrave with battlemented cornice. The whole forms a happily conceived little monument; it is probable that it was originally accompanied by an explanatory inscription.