Commissioned by Maria Bovolina for the church of San Francesco, a dependency of Padua. The inscription reads Bona Maria de' Bovolina, emulating Helen, the finder of the cross and the nails, dedicated this herself, to the piety of the people of Bassano, that they might pray for her to Christ our Lord.
Maria had herself painted as if on Golgotha.

Commissioned by the abbess of the convent of San Pier Maggiore (see Francesco Botticini below)on the occasion of the enthronement of the new bishop of Florence.
St Peter, patron saint of the convent, holds a model of the church, emphasising the convent's acknowledgement of papal authority rather than that of the bishop. St Zenobius, patron saint of Florence, is relegated to a back row.
The painting is well supplied with female saints.

As the powerful and independent wife of Francesco da Carrara, Lord of Padua, Fina required that the baptistery should be dowered from the goods of the Magnificent Lady testatrix according to the judgement of her husband and executor.. Her position in the centre of the complex iconographic scheme indicates considerable planning and erudition.
Her portrait, with her three daughters, appears in the fresco of the Birth of the Baptist.

Commissioned for Santa Maria Novella in Florence by Madonna Andreola di Jacopo di Donato Acciaiuoli, widow of Mainardo Cavalcanti. By juxtaposing on the frame the arms of the Cavalcanti with her own, she identified the commission with her natal family as well as that of her husband.

The inscription reads This panel was caused to be made by the convent chapter of the monastery of Santa Felicita, from money belonging to the said monastery at the time of the abbess Lorenza de' Mozzi in the year 1401.
The frame, ordered in 1395, alone cost 80 florins; the artists did not receive the commission until 1399. They charged 100 florins.

Commissioned for the Pieve in San Gimignano. Restoration revealed a kneeling woman in the lower left corner of the fresco of Paradise, whose pose and scale are consistent with that of a donor figure, possibly a widow belonging to a prominent family whose coats of arms appear in the scheme.
Diana Norman of the Open University argues in Art History Vol 18 no 2 that the figure is actually a local saint.

The scheme was designed by Matteo Palmieri for his funerary chapel in the Benedictine convent of San Pier Maggiore (see Jacopo di Cione above) and commissioned by his widow after his death. Matteo and his wife, Niccolosa de' Serragli, kneel on either side of the altarpiece.
The view behind Matteo includes both Florence and Fiesole and also a farm belonging to him; behind Niccolosa there are farms in the hills of Val d'Elsa which were part of her dowry.

The inscrption reads Oradea [widow] of Giovanni in compassion for her forbears and descendents, with a large sum of her own money, dedicated this picture to the Virgin Mary, bountiful Mother of Consolation.
Oradea, kneeling at the feet of St Francis on the left of the Virgin, fulfilled Giovanni Becchetti's wish expressed in his will by founding an altar dedicated to S. Maria della Consolazione in the church of S. Francesco in Fabriano in 1490; she also endowed it herself.