This thesis is focused on the women patrons of work of art located on the eastern coast of the Adriatic during the late mediaeval and early modern period. Because of the historiographical accentuation of the topic, the first part of the thesis is devoted to the socio-historical contextualization of women’s societal roles in the given periods in which the elements that have the most effect on the donation of visual art works is most discussed. The second part of the thesis is concerned with the assessment of the body of work which was gathered during the research of the literature that discusses the visual art of the late medieval and early modern period on the eastern shore of the Adriatic. One part of the collected artworks is classified regarding the marital status of the donator since that status is the one that had the most effect on a woman’s ability to manage money, and by extension her ability to donate artworks. The second part of the collected art works because of a lack of documentation and biographical data about the donator, is divided regarding the method of donation (testimonial patronising) and the type of depiction (the donator is present in the painting or composition and the representation of the donator in life size scale on memorial statuary). The analysis of the art works considers the marital status, social standing and geographical position, as well as the choice of the recipient institution, the artist and the place to which the artwork is intended to be donated to. The analysis of the collected artworks has shown the female donators of the arts, with no relation to social status, were most often widows without children. Likewise, it has shown that social status is the principal factor when it comes to art donations of a higher monetary and higher artistic value, it has also displayed that those donators that belonged to the elite social classes are present in all donator categories, which is not the case for donators of the lower social classes.