a flute to which the couple is dancing. The scene is seemingly Bacchanalian. The scene on the right is by far the clearest. It precisely shows: a woman in Greek dress, holding an amphora and giving a grape to a small child, a man in himation holding a kantaros drinking vessel, a young man in chiton playing a hand drum, and a woman in Greek dress playing a two-stringed lute-family instrument. Second tier: Indian palatial scene The second tier of the stupa base displays a Buddhist Indian scene. Depending on interpretations, it seems to show a princely couple whose son is convinced to shave his head and become a Buddhist monk. In the last scene on the right, he is seen in Buddhist garb, bidding farewell to his parents. Stylistically, it is most interesting that these Indian scenes were realized by the same artist, or at least the same atelier and at the same time as the Hellenistic ones. Indeed it had been suggested previously (Marshall) that the Hellenistic scene belonged to a previous period, before the emergence of Gandharan Buddhist scenes. The second tier is sided by triangular stair risers, which depict a Hellenistic winged Ketos sea monster, a motif often seen with such a function in Greco-Buddhist art. It is thought that the Ketos symbolizes the transition to the other world after death. Some of the Buner reliefs are much better preserved and give a better picture of the original Ketos design. Third tier Only fragments of the third tier remain, but they also depict Indian palatial scene similar to those of the second tier. A beautiful decorative garland with flowers in included at the bottom of these scenes. Other decorative elements Various decorative elements have also been found in relation with the stupa. In particular, a Hellenistic cupids and garland design, a representation of the Buddha and Maitreya within decorated arches, a Buddhist narrative frieze, and a head of Garuda. The left part of the narrative frieze represents the Buddha in a conventional scene (the visit to the Brahman). At the time of the manufacture of the stupa, groups of Greek populations from the earlier Indo-Greek kingdom probably still remained, and were even organized under a king (Strato II) in the Punjab region, which would account for the rich Hellenistic influence in the stupa and the representations of people in Greek dress and attitudes on the lower