the northwest (around the area of Gandhara), since they left mason's marks in Kharoshthi, as opposed to the local Brahmi script. This seems to imply that these foreign workers were responsible for some of the earliest motifs and figures that can be found on the railings of the stupa. Bharhut Craftsmen from the Gandhara area, a central region of the Indo-Greek realm, are known to have been involved in the construction of the gateways at Bharhut, which are dated to 100-75 BC: this is because mason's marks in Kharosthi have been found on several elements of the Bharhut remains, indicating that some of the builders at least came from the north, particularly from Gandhara where the Kharoshti script was in use. Cunningham explained that the Kharosthi letters were found on the ballusters between the architraves of the gateway, but none on the railings which all had Indian markings, summarizing that the gateways, which are artistically more refined, must have been made by artists from the North, whereas the railings were made by local artists. The Bharhut gateway is dated to 100-75 BC (most probably 75 BC based on artistic analysis). The structure as a whole as well as various elements point to Hellenistic and other foreign influence, such as the fluted bell, addorsed capital of the Persepolitan order, and the abundant use of the Hellenistic flame palmette or honeysuckle motif. Characteristics of Greco-Buddhist art Artistic model Later, Greco-Buddhist art depicts the life of the Buddha in a visual manner, probably by incorporating the real-life models and concepts which were available to the artists of the period. The Bodhisattvas are depicted as bare-chested and jewelled Indian princes, and the Buddhas as Greek kings wearing the light toga-like himation. The buildings in which they are depicted incorporate Greek style, with the ubiquitous Indo-Corinthian capitals and Greek decorative scrolls. Surrounding deities form a pantheon of Greek (Atlas, Herakles) and Indian gods (Indra). Material Stucco as well as stone was widely used by sculptors in Gandhara for the decoration of monastic and cult buildings. Stucco provided the artist with a medium of great plasticity, enabling a high degree of expressiveness to be given to the sculpture. Sculpting in stucco was popular wherever Buddhism spread from Gandhara - India, Afghanistan, Central Asia and China. Stylistic evolution Stylistically, Greco-Buddhist art started by being extremely fine and realistic, as apparent on the standing Buddhas, with "a realistic