Received to the Galleries as a gift from Girolamo Contarini in 1838, the table takes its name from the two poplars soaring symmetrically on either side of the green curtain that forms the background to the group of the Madonna and Child. The presence of the date 1487 together with the signature on the parapet in fake green marble is of extreme interest as it is the second - after 1474 of the Fugger Portrait of Pasadena, which is no longer visible - present on a work by the master. The table is therefore an essential chronological reference in the chronological scan of the master's corpus, as well as one of the qualitative peaks he reached in the declination of the theme. Of great modernity and very successful naturalistic effect is the call of the shadow cast by the Virgin on the curtain stretched behind her which helps to give the sense of a warm light, of the setting sun, which can also be glimpsed in the diffused light among the leaves of the trees. and in the line of the horizon that marks the slow growth of the hills towards the snow-capped peaks at the bottom. The cartoon of the group with the Virgin and Child is taken up by Bellini in the Madonna and Child with Saints Paul and George, also preserved in the Accademia Galleries. A workshop replica of the work is known, which has passed through various private collections.