Art and design
- Evaluate and analyse creative works using the language of art, craft and design
- Know about great artists, craft makers and designers, and understand the historical and cultural development of their art forms
- Produce creative work, exploring their ideas and recording their experiences
- Become proficient in drawing, painting, sculpture and other art, craft and design techniques

Art and design
- Look at and talk about the work of artists, designers and craftsworkers from their own and other cultures; appreciate methods used in the resource materials and use their appreciation to stimulate personal ideas and engage with informed art making
- Develop their understanding of the visual elements of colour, tone, line, shape, form, space, texture and pattern to communicate their ideas
- Evaluate their own and others’ work and how it was made, explain and share their ideas, discuss difficulties and review and modify work to find solutions

Art and design
- I can create and present work that shows developing skill in using the visual elements and concepts (EXA 2-03a)
- Through observing and recording from my experiences across the curriculum, I can create images and objects which show my awareness and recognition of detail (EXA 2-04a)
- Inspired by a range of stimuli, I can express and communicate my ideas, thoughts and feelings through activities within art and design (EXA 2-05a)
- I can respond to the work of artists and designers by discussing my thoughts and feelings. I can give and accept constructive comment on my own and others' work (EXA 2-07a)

Art and design
- Describe and make comparisons between their own work and that of others
- Experiment with and examine the methods used by other artists from different periods, places and cultures
- Evaluate the methods and results of their own work and that of their fellow pupils
- Pupils should be stimulated and inspired by: other artists; methods and processes; media; styles; ideas
- Explore, experiment with and apply the elements of the visual, tactile and sensory language of art, craft and design which include: line, tone, colour, pattern, texture, shape and form

Christ and Mary are central, with the Kings also in the foreground. Christ is seated as if on a throne and holds a gold coin.

Baltazar has an attendant who carries his cape. He is wearing a crown, pearls, gold, lynx fur and leather boots so fine we see the form of his feet beneath the surface. Caspar is also wearing gold and jewels, as well expensive fabrics including fur and a patterned robe. He is kneeling respectfully before Christ with his hands held together as though in prayer. Baltazar stands with his gift offered out to Christ.

There is text in blue at the bottom of Baltazar's scarf. There is writing on the scroll held by the angel in green on the left which translates to 'glory to God in the highest'. Finally, on the lid of the chalice of myrrh at the Virgin's feet presented by Caspar, his name is written.

While some of the men look beyond the edge of the painting, the second man from the right is looking directly in our direction. The horse is also looking at us! He is carrying an old man who looks weary and seems to be using a stick for further support.

The tenth angel is hidden: it is peeping through the crack in a wall to the right of Joseph behind an ox. We can see the white edge of one of its wings.

There are two dogs, an ox and an ass. This lets us know that the scene is set in their stable.

Christ and Mary form a triangle on the central vertical axis. Joseph mirrors the curve of Mary, but is more in the background.

The artist appears to have used a ruler to draw the lines of perspective in the tiled flooring – we can tell they converge (meet) as they recede towards the horizon line. This creates the illusion of three-dimensional space which draws us right back into the composition. The architecture is also notably linear, especially in contrast with the rounded forms of the many figures in the scene.

In place of the traditional stable, the ruins of an ancient palace frame the Virgin and Christ child. So noticeable are the large chips in the masonry (stone), it is thought we are supposed to realise that we are witnessing a transformative moment in time from an old world to a new one.

In the distance, we see a naturalistic landscape and diminishing figures who are all intending to gather at the scene. On the far right, we see a winding hilltop path with a continuous procession of horseback riders, all heading this way too.  

Blue is a highly symbolic colour as ultramarine blue was extremely costly at this time and was seen as a heavenly colour. Blue has connotations of divineness in other major world religions too, such as Islam.

The scene appears bathed in natural daylight which helps convey a celebratory mood. However, an oversized star, the Star of Bethlehem, dominates the scene from high in the sky. Stars are usually a night-time phenomenon.

There are differences in how the fabrics Baltazar wears interact with light: the thick furs absorb light while the clean white scarf has many of its shadows obliterated by the light (as often happens when bright light hits a white fabric surface), and his precious gold vessel reveals its hard shiny surface by reflecting the light. All of these plays on light emphasise that Baltazar's belongings are precious and expensive and that this is a majestic event.

The majesty of all of the kings' garments and precious gifts are conveyed with the use of light: gold threads are given a light-reflective sheen and jewels adorning fabrics have daubs of bright white to simulate reflective and glistening surfaces. In contrast, rich fur garments and stone tiles absorb the light. The subtle play of light and shade even tells us how soft Baltazar’s leather boots are because they reveal the form of his toes beneath the hide.

Light is also used to illuminate key elements of the scene, e.g. the baby Jesus appears starkly illuminated against His mother's dark blue robe.