Chiesa di Sant'Agostino The church stands on the southeast side of Risorgimento square. It was erected in the 1400s by Prior Antonio Migliorati, later beautified in the 1700s, on the original hermitage of the Augustines from the 13th century. Subsequent modifications saw the development of the convent, cloister and the monumental church; the reworking of the facade in 1700s extended the church in the direction of the square and the remodelling of interior in neoclassical style. The exterior has a baroque facade with high walls and a slender octagonal pyramidal bell tower, begun by Beato Antonio and completed in 1464 by P. Lombardo. Of the original structure from the 1400s the gothic doorway remains, supported by corded columns and topped by an arenaceous tympanum from an earlier door. The interior has a single nave with a short transept at the height of the presbytery, decorated with frescoes from the beginning of the century by F. Ferranti. There are also baroque ornaments and frescoes by Malpiedi. In the urn behind the altar are the remains of Beato Antonio. Only a few traces of the cloister remain since the destruction of the northeast side.


Chiesa di San Francesco Consecrated in 1352, construction of the church began in 1313 following the move of the Frati Minori from the site of the primitive convent, likely erected on Saint Francis’ return passage from Ascoli Piceno in 1215. Chiesa di San Francesco The Romanesque building style is recognizable from the linearity of the façade and the lack of decoration on the external walls, excepting the hanging arches; the bell tower has Lombard characteristics, which were restored to their original style in 1886. The gothic doorway, topped by a tympanum and decorated with slender corded columns, dates back to 1429. The structure has a single nave with a polygonal apse. In the chapel of the Annunciation are the remains of decorative paintings from the Umbrian and Marches tradition dating back to the 2nd half of the 1400s. At the entrance to the present day sacristy a Virgin Mary with Child and Angels was found during maintenance work. It is in the style of the 1400s, that would seem to reference the models of the Ghissi and the decorative patterns of Andrea da Bologna, but it is the work of the Maestro di Offida. At the centre of the apse is a wooden Christ figure from the end of the 1200s, one of the more distinguished examples of the Benedictine culture.


Chiesa di San Francesco Adjacent to the complex dedicated to S. Francesco and built in the same period, it was rebuilt in the beginning of the 17th century. Laid out with two orders of arcades on hexagonal columns; the lunettes of the lower floor are decorated with frescoes from 1635 showing scenes from the life of S. Francesco. The Anthropological-Geographical museum and the Park visitors centre is on the first floor.


Chiesa di San Bernardino The construction of the church dates back to 1464; the convent was later erected by the Capuchin monks in 1540 and annexed to the church. It has a plain façade with a nartex and four bays and a very simple interior, having a single nave and a flat apse and preserves two paintings on canvas from 1700s.


Abbazia dei SS Ruffino e Vitale In the earliest documents of the abbey it is mentioned by the name San Vitale; it began to be called San Ruffino at some later date. Until 1274 it claimed jurisdiction over several churches in the area, with patronage rights shared by the Signori di Smerillo and Monte Passillo; in 1495 it was given in commendam. The Abbey is the ancient foundation over earlier Roman constructions; the structure and the crypt can be dated from between the 11th and 12th centuries. The church is built on a basilica plan with a presbytery over the crypt; three naves divided by pillars and covered in trusses. The presbytery walls are decorated with two 14th and 15th century frescoes. The crypt is divided into five naves by short columns with simple leaf capitals; it preserves the reliquaries of San Ruffino. The left nave leads to an underground chapel on cross-shaped plan, closed by an apse: the walls are decorated with frescoes that likely date back to the 10th century. The façade has a rectangular window in place of a rose window, a laterally buttressed door, and overlapping of various construction materials: stone blocks in regular and irregular ashlars, and layers of brickwork and mortar. The quadrangular bell tower attached to the small left-hand-side apse dates back the end of the 14th century.


Abbazia dei Santi Vincenzo e Anastasio ( 5 Km. From Amandola) Benedictine Abbey, originally dedicated only to S. Anastasio, which rose in opposition to the Abbey of S. Rufino, probably before the year 1000; a document mentioned by Leopardi but never recovered, attested to King Liutprando’s ( 713-744) donation of lands to the convent. The first official records date from 1044. The building underwent substantial changes starting from 1295 up until the 15th century. Of the original structure, only the right wing remains, where several arches belonging to the cloister are visible, as well as some fragments of the rectangular apse. Apart from these original elements, the building was made smaller and shorter and its principal axis was inverted, so that the raised entrance was placed in the rectangular apse. In 1461, the bell tower was rebuilt at the base of the original entrance. The interior is made up of a single nave with a trussed ceiling, and has one staircase that joins the nave with the raised presbytery (as in the other abbeys of that period); on the side a corridor leads into the crypt. The crypt has a single nave, supported by a single central pillar, and lit by single lancet windows set into the side walls of the stairwell .


Chiesa di San Pietro in Castagna This tiny building, erected on the “Castania” territory, is mentioned in records prior to the year 1000; it was one of the 51 churches under the jurisdiction of the Benedictine Abbey of S. Angelo in Montespino. In later years it was mentioned in the agreement for the re-use of materials by churches whose patronage was ceded to the Diocese of Fermo in 1301. The Romanesque door is of great interest, it is gothic ogive in shape with an architrave decorated with the figures of the apostles in bas relief (even though erosion has compromised the relief), and a lunette bordered by a triple arched lintel. The doorway and the window from a later period are included in the buttresses, whose upward slope is recalled by a narrow bell tower. On the south wall there are two original single lancet windows. The interior has three baroque altars, one of which contains a painting by Malpiedi in the tympanum.


Its origins predate the 14th century; city statutes make reference to the church in 1336. It has a single hall that was enlarged in the 1800s with the purchase of two rooms for the chapel of the Addolorata and the sacristy. It was the seat of the ancient Brotherhood of the Scopa, and where a canvas attributed to D. Malpiedi and dated to around 1640 is preserved.


Chiesa della Santissima Trinità It was a possession of the Benedictines of the Abbey of SS. Rufino and Vitale from 1249, which together with the Castle of Agello was included in the land holdings of the Giberti Counts, who then sold it to the city in 1265. In 1581 it took on its present day name following the constitution of the Brotherhood of the SS. Trinità. In the characteristic “cottage” shape, in the Romanesque style, the church has an exterior structure in compact brick, with a solid facade, furrowed with buttresses, and lightened only by a high large central window and large doorway. In the back a bell tower represents the only upward element. In 1576 the east wall saw the addition of large splayed windows. The church has a single nave and a gilded high altar; in the raised transept and on the sides are two altars with frescoes from the 1600s.


Chiesa di Santa Maria a Piè d'Agello (location Colle d’Agello) A short distance from Amandola, the church stands at the foot of the Colle Agello; it was included among the so-called “sanctuaries from the plague” (Santuari contra pestem) owing to its dedication to the Madonna della Misericordia, protector from disease. Records indicate the existence of the church from 1403, but it underwent its first rebuilding in 1422-25; in 1437 the external portico was built as a shelter for pilgrims. In 1570 further restorations were carried out, and the 1600s saw the raising of the roof and the extension of the length of the building. The interior has a single nave and preserves in the presbytery several frescoes, not particularly legible, that can be attributed to masters of the Umbrian-Marches tradition.


Chiesa di Santa Maria della Pace The convent was erected between 1506 and1560; in 1525 the Clares took up residency there. What remains of the building are the cloister, completed in 1560, a sequence of overlapping loggias, and the refractory from 1549. The church of S. Maria della Pace is annexed to the monastery and has been recently restored; the facade has doorway with an oculus, sculpted from local stone in 1539 by Francesco da Milano.


Cinque Fonti Originally from the 1300s, in the past it was referred to as Fonte Petronia and was the original site of the Monastery of the Benedictines. It was restored in 1460, the same year that the city purchased the walls of the monastery to increase the city’s defensive walls.