La Cattedrale della Resurrezione (Anastasis) sorge sulle fondamenta della Basilica Ursiana, fondata tra il IV e il V secolo dal vescovo Ursus, per dare una sede adeguata alle riunioni della fiorente comunità cristiana della città. La basilica, a cinque navate, già in origine era dotata del battistero ottagonale, restaurato e arricchito da decorazioni musive dopo la metà del V secolo dal vescovo Neone. Attorno al X secolo, fu poi eretto il grande campanile cilindrico e realizzata una cripta nel presbiterio, mentre l’abside, nel 1112, fu decorata da un grande mosaico realizzato da artisti bizantino-veneziani. Nel 1720, considerando le precarie condizioni dell’edificio, si decise di ricostruirlo ex novo, conservandone solo il presbiterio. Compromessa da un crollo la zona absidale, finirono per salvarsi solo il battistero, il campanile e le due cappelle laterali, oltre ad alcuni arredi marmorei. La nuova cattedrale, edificata su progetto dell’architetto Gian Francesco Buonamici, fu consacrata nel 1749, ma subì varie modifiche nei decenni seguenti a opera del camaldolese Giuseppe Antonio Soratini e di Cosimo Morelli.

Essa si articola internamente in tre navate scandite da pilastri, con numerosi altari laterali in cui sono collocate tele di vari artisti del XVIII e XIX secolo; al termine della navata mediana si eleva una grande cupola. Il pavimento presenta ricchi intarsi di marmi, per i quali vennero addirittura segate le colonne della antica basilica. Di particolare interesse sulla destra l’ambone in marmo di Proconneso, edificato per la antica Basilica Ursiana dall’arcivescovo Agnello (556-569), successivamente smontato e infine ricostruito nel 1913.

La cappella del Sacramento nel transetto sinistro, appartenente ancora alla vecchia basilica, presenta affreschi di Guido Reni e aiuti (1620); del Reni è anche la tela sull’altare, con Mosè e la caduta della manna e la lunetta ad affresco, originariamente all’ingresso della cappella e successivamente trasportata al termine della navata sinistra, con L’angelo porta ad Elia pane e vino. La cappella del transetto destro, in cui si venera l’icona della Madonna del sudore, presenta due splendidi sarcofagi ravennati del V secolo,  dell’arcivescovo Rinaldo a sinistra e di S. Barbaziano a destra. Un altro sarcofago della stessa epoca, quello di Esuperanzio, è collocato nella navata destra sotto l’altare del crocifisso.

Il Parco Nazionale delle Foreste Casentinesi, copre un’area di circa 36.000 ettari, equamente divisa fra l’Emilia Romagna e la Toscana. All’interno sono presenti aree di eccezionale valore naturalistico, in cui l’antropizzazione è assente o di scarso rilievo e nelle quali l’ambiente naturale è conservato nella sua integrità. Aree destinate alla salvaguardia ed al mantenimento degli equilibri biologici ed ambientali in atto, alla prevenzione ed all’eliminazione di eventuali fattori di disturbo endogeni ed esogeni come la Riserva Naturale Integrale di Sassofratino.

Built in the second half of the XVI century, at the time of the first expansion of the monastery of Classe within the city walls, the Sala Dantesca was originally a refectory serving the Camaldolese convent. It was named after Dante to celebrate the 600^th anniversary of the Poet’s death, in 1921, when it started to be used for the Lecturae Dantis cycles. The refectory and its rich decoration were commissioned by Abbott Pietro Bagnoli from Bagnacavallo, the longtime head of the abbey. A large fresco by celebrated painter Luca Longhi portraying the Wedding of Cana was added to northern wall in 1580. Another fresco adorns the ceiling with the Dream of St. Romuald. Lining the walls are the exquisite wooden stalls carved by Marco Peruzzi in 1581, decorated with anthropomorphic herms. March 2017 saw the conclusion of lengthy restoration works funded by the Fondazione Cassa di Risparmio di Ravenna and the Emilia-Romagna Region, who brought the atrium and the hall back to their former splendour, to be enjoyed as a highly symbolic public hall for all sorts of cultural events.

Built in the early 16th century, the cloister of the Abbey of Saint Maria in Porto gets its name from the Loggia del Giardino, better known as the Loggetta Lombardesca, from the Campionese and Lombard workers, operating there under the direction of Tullio Lombardo.
The original building underwent changes in its use and function from the period of the Napoleonic suppressions, up until its renovation in the early 1970s. The only things remaining of the original building are the cloister, with original renaissance proportions, the layout of spaces and the elegant loggia with five arches, which has become the monumental emergence and symbol of the entire complex.

Currently, the Loggetta Lombardesca is home to the Art Museum of the city of Ravenna, since 2002 the Institution of the Municipality of Ravenna.
With the creation of the Institution, the museum (which was already the Municipal Art Gallery) has relaunched its cultural activities. It has combined the already-consolidated activity of preservation and promotion of the patrimony with a well-structured cultural production, by creating the International Mosaic Documentation Centre, and also an exhibition activity, allowing the results of the most advanced scientific research to be divulged. The museum moves in various directions, in order to investigate art workshops, from the wide topics of contemporaneity in a historical perspective, to the frontiers of emerging creativity and from work to promote the patrimony to the recovery of material culture and manufactured articles.

Early nineteenth century: after more than one hundred years of life the Communicative Theatre, made entirely out of wood, was collapsing and the Public Administration decided to build a new facility. The first step was to identify an adequate area: Piazzetta Degli Svizzeri, a squalid square surrounded by slums but placed at the very heart of the city, was the chosen place. In 1838, the project was entrusted to two architects from Veneto, the brothers Tomaso and Giovan Batista Maduna. The former had ministered to the restauration of La Fenice, the most famous theatre in Venice, which had been partially destroyed by a fire. Tomaso Meduna also signed the project of the first railway bridge connecting Venice to the mainland. Under the lead of the two architects, the building which resulted was a neoclassical structure very similar to the Venetian theatre. The apostolic delegate Monsignor Stefano Rossi suggested to dedicate the theatre to Dante Alighieri. The official opening ceremony took place on May 15th 1852 with “Roberto il diavolo” by Giacomo Meyerbeer and the ballets “La Zingara” and “La finta sonnambula” with the étoile Augusta Maywood.

Across almost two centuries of life orchestra pit, stage, and parterre have hosted personalities from all around the world, which makes it impossible to list them all here. However, two curiosities can be mentioned: Benedetto Croce and his partner, Angelina Zampanelli, attended a recital by Ermete Zacconi in 1899. Few years later, on May 27th 1902, Gabriele D’Annunzio and Eleonora Duse came to see “Tristano e Isotta”. On that night all the box office revenues were donated to the Civil Hospital and the Vate offered 100 lire, while a seat in parterre costed 4 lire.

In 1959, the Theatre was closed for restoring. It opened again eight years later, when it began the quality journey that has brought it to the present international notoriety. On February 10th 2004, the “Ridotto” was dedicated to Arcangelo Corelli on the 350th anniversary of his birth in Fusignano.

The Monastery is located at 44, Via Guaccimanni, halfway between the Basilica of Sant’Apollinare Nuovo and the church of San Francesco, in an area packed with extraordinary monuments. The Ravenna community of the Carmelites of the Ancient Observance (or “Calced”, to distinguish them from the “Discalced Carmelites”) was founded in 1773 by initiative of Sister Marianna, a tertiary who wanted to live close to the Carmelite fathers and share their evangelical experience of prayer and community in the spirit of Mount Carmel. With the help of a few sisters, she established a boarding school where girls could share a powerful experience of spiritual growth through a long process of discernment leading towards cloistered monastic life. At first it was a “Bishop’s clausura”, approved by Pope Gregory XVI, who granted a petition by Cardinal Chiarissimo Falconieri, the Archbishop of Ravenna. Then, in 1840, it became a “papal clausura” with “solemn vows”, that is, with stricter rules and lifestyle. Pope Pius IX visited the convent in 1857, during his pastoral visit to Ravenna. This marked the transition from the previous system, where the girls were engaged in outreach activities, to a contemplative system which prioritised worship and monastery work. Ravenna-born Sister Anastasia, who entered the convent at the age of twenty, is now “mother superior”. But for these nuns, enclosure does not mean total detachment from the world. «To learn more about us—says Sister Anastasia—visit our YouTube channel, carmelitaneravenna: you will find videos on our lives, experience, worship and small cultural events.» In 2012, the Ravenna Festival scheduled an occasion for meditation and Gregorian chants in the Monastery’s small church.