You will notice many profile portraits from painters during this period. I am including several here, but many more appear in the postings of individual artists on this blog. Art historian Patricia Simons emphasizes the role the profile portraits played in the political and social ambitions of Florentine families: "The age of the women in these profile portraits, along with the lavish presence of jewelry and fine costumes (usually outlawed by sumptuary legislation and rules of morality and decorum), with multiple rings on her fingers when her hands are shown, and hair bound rather than free-flowing, are all visible signs of her newly married (or perhaps sometimes betrothed) state. The woman was a spectacle when she was an object of public display at the time of her marriage but otherwise she was rarely visible, whether on the streets or in monumental works of art. In panels displayed in areas of the palace open to common interchange, she was portrayed as a sign of the ritual's performance, the alliance's formation and its honorable nature."
Art historian Mary Garrard succinctly sumarizes the discussion of these profiles: "The Quattrocento profile portrait convention presented young women, usually at the time of their marriages , as beautiful but passive possessions of male heads of households, inert mannequins for the display of family wealth (and status) to the gaze of other males."
Pisanello (c 1395–1455), known as Antonio di Puccio Pisano or Antonio di Puccio da Cereto, Princess of the House of Este 1436-38
Alessio Baldovinetti (Italian artist, 1425-1499) Portrait of a Woman
Search individual artist, such as Ambrogio de Predis, for more profile images.