How did Raphael use pyramidal composition in his Florentine Madonnas?

During his time in Florence, Raphael adopted the Florentine method of constructing compositions in depth using pyramidal figure masses.1

In his series of Madonnas—such as The Madonna of the Goldfinch, the Madonna del Prato, the Esterházy Madonna, and La Belle Jardinière—he grouped the figures together as a single, unified unit. Despite this integration, Raphael ensured that each individual figure retained its own distinct shape and individuality. This approach allowed him to achieve a new sense of compositional unity while suppressing inessential details, a technique heavily influenced by the work of Leonardo da Vinci.1