In 1504 the young Raphael came from Perugia to Florence, where Leonardo da Vinci and Michelangelo dominated artistic life. Especially under the influence of Leonardo’s compositions, the newcomer created a series of Madonna depictions. Particularly in Florence, the Madonna image had experienced a change in function: it was no longer mainly a religious item for practical use, but primarily an exquisite expression of artistic achievement. Raphael gave the Madonna in the Meadow to his Florentine patron Taddeo Taddi as a gift; in 1662 it was acquired at its place of origin by Archduke Ferdinand Karl of Tirol. In keeping with the Sienese type of the Madonna Humilitatis the Virgin Maryis sitting on an elevation on the ground. Supporting the infant Jesus with both hands, she looks at little John the Baptist. The encounter of the two children has been mentioned in Tuscan devotional literature since the late 13th century. The cross is simultaneously a toy, an attribute of John the Baptist and a Passion symbol. The latter is also true of the conspicuously positioned poppy on the right. In the present painting, which was created at the beginning of his series of full-length Madonna depictions, Raphael decided on a strictly geometrical structure: the group is incorporated in an equilateral triangle. However, within the seemingly rigid structure, a lively scene unfolds. Parallel and opposing movements and glances blend with the landscape in the background to create a composition that is in keeping with the demands of the High Renaissance for perfect balance and harmony