Depicts a complex of Sant'Agostino with the façade of the church, the cloister, and the bell tower, and, in the foreground, on the right, the coat of arms of the Municipality with a lion rampant, composition attributed to Sansovino; around, above, “REPUBBLICA ITALIANA”; “2016” in exergue; around, on the lower left, the name of the designer “E. L. FRAPICCINI”.

Sant'Agostino is a Gothic-style, Roman Catholic church located on Piazzale Giordani #1 in the town of Recanati.

The church was built in 1270 adjacent to an Augustinian monastery located within the city walls. A century later it was refurbished but still retains the side buttresses in elegant brick. The rounded portal carved in Istrian marble was completed in 1485 by a sculptor, Giovanni di Fiandra using a design by Giuliano da Majano. It is decorated with a statue of St Augustine and Christ Blessing.

The side altarpieces were painted by Filippo Bellini, Pier Simone Fanelli, Felice Damiani, Antonio Calcagni, and traces of frescoes by Giacomo di Nicola da Recanati. The crossing of the church has a small cupola.

Some claim the bell-tower of the church, and not the octagonal town tower, is the inspiration for the tower in Giacomo Leopardi's poem of the Il passero solitario. The poem only states that the sparrow in the poem can see the countryside from this ancient tower.

Depicts a detail from the painting "Recanati Annunciation"; around, on the upper left, “ITALIA DELLE ARTI”; below, in two lines, “RECANATI”, “R” and “5 EURO”.

The Recanati Annunciation (Italian: Annunciazione di Recanati) is a painting by the Italian Renaissance painter Lorenzo Lotto, executed around 1534 and housed in the Civic Museum of Villa Colloredo Mels, Recanati, Italy.

The painting depicts a bedroom where an Annunciation takes place following an unusual scheme: the angel is on the right, holding a white lily, and has got in from a loggia which opens to a garden (the hortus conclusus). His right arm is pointing at the Father God who has shown in a cloud and is blessing Mary from inside the loggia. Mary is portrayed in the left foreground, looking at the spectator and raising her hands in a surprised gesture.