The same insistence upon horizontality is to be observed in the façades of Ctesiphon and Ukhaiḍir; but the effect is produced in a different manner. No doubt it is difficult to do justice to the horizontal members in these buildings, owing to the fact that, from the perishable nature of the material, they have suffered complete destruction, but it can safely be conjectured that they were never of much importance to the general effect. The space left between the decorated zones is too small to admit of the full entablature, attic, and podium which separate the lower order from the first upper order in the Storied tomb, or even of the entablature and podium which are interposed between the upper order and the order of dwarf columns. The multiplication and the breaking of horizontal members in Western Hellenistic monuments are discarded in Mesopotamia, and with them vanishes much of the significance of the façade. The zone decoration becomes a pattern composed of innumerable groups of architraved and arched divisions, set one within the other, so as to cover the whole surface of the wall. Where exigency demands, real doors and windows may be placed in the niches; the zones may correspond to a certain extent with the structural division of the building into stories; but the main intention of the architect is to cover his wall with continuous motives which are not dependent upon the structure and must fit into it as best they can. It is the traditional surface decoration of the ancient East, disguised in the new dress which it had borrowed from Hellenism.