Depicts Pope Francis's crowned coat of arms encircled by the inscription "Pope Francis Year 12 2024" above and "By having mercy and by choosing" below. The engraver's and designer's names are in the middle and the right.

The coat of arms features three symbols on a blue field. At the top is the emblem of the Society of Jesus, reflecting Francis' Jesuit background. This emblem includes a radiant sun with the IHS christogram. Below are an eight-pointed star, symbolizing the Virgin Mary, and a spikenard representing Saint Joseph. Francis uniquely retained his personal motto, "Miserando atque eligendo" (Latin for "by having mercy, by choosing him"), from Saint Bede's 21st homily on the Gospel of Matthew.

The papal tiara, a crown worn by popes from the 8th century until the mid-20th century, was last used by Pope Paul VI in 1963. From 1143 to 1963, it was used during papal coronations. The remaining tiaras are all of the triple form, with the oldest dating from 1572.

Depicts Francis Petrarch presenting a laurel branch to Laura, whose angelic form appears with her hair flowing like an aura in a light breeze. The state name "Vatican City" is above, the denomination is in the center, the mintmark of the Italian State Mint and Polygraphic Institute (R) is on the left, and the poet's name, the death and the coin issue years are on the right.

On 6 April 1327, after abandoning his priestly vocation, Petrarch saw a woman named "Laura" in the church of Sainte-Claire d'Avignon, sparking a lasting passion celebrated in his "Rerum vulgarium fragmenta." Laura may have been Laura de Noves, wife of Count Hugues de Sade. Though Petrarch had little contact with her, he described Laura as beautiful, fair-haired, and modest. According to his "Secretum," she rejected him because she was married, prompting him to write love poems and prose that reflected his emotional turmoil.

Upon Laura's death in 1348, Petrarch's grief was profound. In his "Letter to Posterity," he reflected on his pure yet overwhelming love for her. While some speculate that Laura was an idealized figure, Petrarch denied this, though he often used the name "Laura" symbolically. His poetry combines psychological realism with conventional descriptions from courtly love literature, depicting his inner conflict and unrequited love.

Laura remains an elusive figure, her presence evoking joy and despair in Petrarch's works. Critics praise the powerful music of his verse and his unique linguistic style, contrasting it with the more varied language of Dante.