The architectonic and urban heritage of Lugo goes back to the 18th century, a time of great cultural vivacity and economic development for the city. A rare example of 18th-century civic architecture, almost anticipating modern urban solutions, the Pavaglione was built starting from 1771 and completed in 1784 by Giuseppe Campana. It is an imposing four-sided portico, built on the older late-16th-century loggia for the needs of the then flourishing silk cocoon market (papilio in Latin, from which the name of the complex). Restored in 1984, the Pavaglione is an irregular quadrilateral, whose longer sides are respectively 131 and 133 metre long, while the short sides are 82 metre long. The result of the civic commitment of the second part of the 18th-century, the Pavaglione still hosts the most prominent commercial activities of the town. Besides the typical shops opening under the loggia, today like two-hundred years ago the building houses the weekly market and the fair, together with several economic events. In summer it also plays venue to musical events: the combination music-market refers to a very ancient tradition, rooted in the times when the market was an opportunity for meetings and also entertainment offered by jesters and actors, who were attracted by the richness and prosperity of the commerce. Several documents bear witness to the diverse theatrical events that took place during the fair since the 16th century. For instance, we know that a company of comedians had been in Lugo since 1586, and in 1594 Il Filleno, a pastoral fable by Illuminato Perazzoli, was staged in the ancient loggia then on the site where the Pavaglione would be built; while in 1641 Guarini’s Pastor fido was staged in the same open spaces. Benedetto Marcello, in Il teatro alla moda (1720), made the mother of a singer say that her daughter had performed in Lugo, “dov’as’fa qui gran uperun” (that is to say: where those great plays took place).

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.