[2] The choice of materials including the vibrant colors, gold leaf, and silver used in the painting creates a brilliant and attractive effect.

The works shows both the international and Sienese schools' influences on Gentile's art, combined with the Renaissance novelties that he knew in Florence.

The panel portrays the path of the three Magi in several scenes which start from the upper left corner (the voyage and the entrance into Bethlehem) and continue clockwise, to the larger meeting with the Virgin Mary and the newborn Jesus which occupies the lowest part of the picture.

[12] All the figures wear splendid Renaissance costumes, brocades richly decorated with real gold and precious stones inserted in the panel.

[13] Gentile's typical attention for detail is also evident in the exotic animals, such as a leopard, a dromedary, some apes and a lion, as well as the magnificent horses and a hound.

[4] Gentile also depicted the faces of the figures with varying facial expressions with a high amount of detail, which was not commonly done by earlier artists.

[13] Gentile employs lighter brush strokes creating softer fur, leaves, fabrics, and shadows than other painters during his time.

[13] The frame is also a work of art in itself, characterized by three cusps with tondos portraying Christ Blessing (center) and the Annunciation (with the Archangel Gabriel on the left and the Madonna on the right).

[15] The predella also has three rectangular paintings with scenes of Jesus' childhood: the Nativity, the Flight into Egypt and the Presentation at the Temple (the latter is a copy, since the original was removed from the altarpiece and is in the Louvre in Paris).

For example, in the Calamala niche for the sculpture of Saint John the Baptist, Ghiberti employed lambrequin arches to frame the central subject.

[19] Additionally, they hold greater purpose to help the imagery depict an aura of the Orient in order to establish a Middle Eastern setting for the work.

[3] Gentile's altarpiece includes pseudo-Arabic inscriptions inscribed on the golden halos of Mary and Joseph that are in turn divided by four rosettes.

[3] Due to growing trade relationships with the East, mainly Mamluk Egypt, different material goods such as ceramics, metalwork, and textiles helped to spread the influence of Arabic inscriptions, leading to an admiration by the Europeans.

[3] This link is further emphasized by the connection between Egyptian Mamluk metalwork, for example a brass bowl sold at Christie's London in 2015, and the halos of Mary and Joseph which are both separated in four parts and inscribed with pseudo-Arabic inscriptions.

[3][23] As shown by Fabriano's Adoration of the Magi, Europeans mimicked Arabic writing in their own artistic goods to appeal towards the exotic demand and Orient influences.

[6] The magi Caspar is shown dressed in a dark tunic contrasted against the a pattern of gold pomegranates that symbolize rebirth in a Christian context and were associated with the Orient.

[3] Some men are shown wearing turbans that not only bring about the idea of the three kings coming from the Orient, but also creates a more exotic Middle Eastern setting.