It is undoubtedly the masterpiece of Renaissance painting of the 'school' of Camerino by Giovanni Angelo d'Antonio, who is portrayed in the lunette above, with his head covered by a black felt cap, his beard little shaved and bright eyes turned. towards the spectator, called almost to be a witness of the representation.

In the lower part of the painting, in an articulated setting, there is the scene of the Annunciation: on the terracotta floor painted in perspective the archangel Gabriel is kneeling, just landed with his iridescent wings in front of the house, the precious damask of the robe embroidered with golden roses that slides from the shoulder, the lily that reaches out its buds. Maria seems not to have noticed the announcement. She is still immersed in reading the book that she holds with her beautiful hand against the prie-dieu: she has a very pure profile that seems almost embossed with a chisel and golden hair wrapped in a braid and held by a ribbon in the shape of a headband, which he discovers the spacious forehead. She is not intent on spinning linen or working with the spindle, but cultivates her otium in the intimacy of a study cluttered with little books placed on a shelf, in the prie-dieu compartment, as was the custom of the meditative life in the past, the prerogative only of men, of philosophers and humanists.

The background consists of a fascinating urban setting between buildings whose perspective escape is interrupted against a smooth ashlar wall, beyond which stands out - depicted in cut - a high tower, surmounted by a dome, flanked by some trees. In the crowded lunette, Jesus, dressed only in the loincloth, rises from the tomb, pouring copiously blood from the wounds of his hands and side; The Virgin and John the Evangelist lovingly take his hands. Higher up against the backdrop of a beautiful blue sky, the instruments of the passion stand out: the column, the whip, the sponge and the cross, boldly portrayed in foreshortening. On the sides of the sepulcher, two Franciscan saints whose strongly characterized faces seem to conceal a portrait intent: St. Francis, recognizable by the sore on his right hand, and St. Anthony of Padua.

The work symbolically summarizes the characteristics of Camerino's painting in the fifteenth century, full of ideas and perspective quotations, of references to the 'painting of light' of Florence in the early fifteenth century and to the experimental forge of Masaccio and Donatello. A painting that, however, remains intimate, thoughtful and deeply tied to the land that produced it and to some of its rough edges.