In this artwork, how is the Technical details and composition discussed?
The work was painted on a wooden panel consisting of six oak boards, laid vertically, measuring 177.2 centimetres (69.8 in) high by 161.8 centimetres (63.7 in) wide.  The paint was applied to a ground of chalk fixed with animal glue, with a thin priming layer of lead white mixed with a little lead-tin-yellow.  There is much underdrawing, visible in some areas due to the paint having become more transparent.  A number of details were added at a late stage, over areas previously painted, including the two figures at the window to the left; the ox and the ass; the two shepherds behind the ass and the shepherds in the distance; Joseph's stick; Caspar's sceptre and the lid of Caspar's goblet.
Gossaert's composition draws from several sources.  It takes its main inspiration from the Monforte altarpiece by Hugo van der Goes (Gemäldegalerie, Staatliche Museen, Berlin), which has a similar grouping of richly dressed Mary and Magi among ruined architecture, with their attendants and bystanders, and glimpses of the landscape behind and angels above.  The two dogs in the foreground, on a floor with many broken tiles, are copied from other engravings: one taken from the lower right corner of Dürer's engraving of Saint Eustace and the second is a reflection of the dog in an engraving of the "Adoration of the Kings" by Martin Schongauer.  Other elements are drawn from other prints by Schongauer and Dürer.
Gossaert lead white Caspar Monforte altarpiece Magi Saint Eustace Hugo van der Goes priming Staatliche Museen lead-tin-yellow Joseph underdrawing Martin Schongauer