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From history and ethnography to geography and the economy, also taking in the ecology. The Museu de les Terres de l'Ebre (Museum of the Lands of the Ebro in Amposta) gives a cross-sectional view of the Ebro delta region. Visitors can learn about the Ilercavones, learn different ways of fishing, even see a ‘llagut’ up close, the most characteristic river boat.

It was created in 2011, as an expansion and updating of the previous Museu Comarcal del Montsià (Montsià County Museum). It occupies the old modernista building of the Miquel Granell state school, which has been converted to meet the needs of a modern and thought-provoking museum project. The museum conserves and manages one of the most important collections of nature, archaeology and ethnology in the Terres de l'Ebre region made up of more than 35,000 objects, among which the Falcata stands out, an Iberian sword that forms part of the set of urns and artefacts from the Iberian necropolis of Mianes (Santa Barbara).

The permanent exhibition "The lands of the Ebro: from prehistory to the middle ages" takes a tour through the history of the banks of the lower Ebro, starting from the archaeological remains found in the area. The second room, "Ebro: the water road" focuses on the influence of the most important river on the Iberian Peninsula on history and the collective identity, and reflects on what the future of the territory will be like.

On the museum’s website, various archaeological items can be viewed in 3D.

The museum will head up the network "Ebro nature & culture" which brings together museums, interpretation centres, archaeological sites and monuments in the different municipalities of the Ebro.

You can discover the history of Tortosa in one of the most significant buildings of the city. This is the old abattoir, a modernista work by the architect Pau Monguió, built on land reclaimed from the River Ebro. In 2012, on the centenary of the Museum of Tortosa it was moved and advantage was taken of the pavilions to display a completely renovated Museum project.

The museum has a collection of more than 4,000 pieces among which include prehistoric flint tools, Roman funerary stones, Andalusian pottery, Gothic capitals, signs of flooding, the tools of one of the last potters of Tortosa, and paintings and sculpture by artists from Tortosa, among others.

The tour of the permanent exhibition provides information on the history of Tortosa and its surrounding regions, from the prehistoric times to the present day. Remains from Ilercavonia, Dertosa or Turtuxa are displayed. You can see the most representative pieces from each historical period from the museum’s own collection and from other museums that have made loans to the collection, such as the Prado Museum, the MNAC (National Art Museum of Catalonia), the National Archaeolgical Museum of Tarragona and the Museu de les Terres de l’Ebre. The contemporary work of the artist Leonardo Escoda interacts obliquely with the space and the content of the museum.

Designed by the artist and engineer Miquel Utrillo between 1910 and 1918, the Maricel Palace became, from its very opening, a classic of the Noucentista style. Currently, the complex maintains its great artistic and architectural value intact and has become one of the most emblematic buildings in Sitges.

This monumental complex, inspired by the beauty of the ancient and modern folk art, was commissioned by the American magnate, collector and philanthropist Charles Deering (1852-1927), who wanted a residential building in which to house his magnificent collection of Hispanic art. With the reform of the old Hospital de Sant Joan and the subsequent annexation of several fishermen's houses on Carrer Fonollar, Utrillo built an exceptional ensemble which received the praise of artists and intellectuals of the time. For Joaquim Folch i Torres, the Maricel Palace was "the fruit of the culmination of modern Catalan civilisation".

With austere lines and respecting the characteristic white colour of the area, the exterior of the Palace has several terraces decorated with local ceramics and projecting above is the tower of Sant Miquel. It is crowned by a series of battlements and the façade has a Gothic sculpture of the Saint which came from the bridge in Balaguer. Throughout the building there is the characteristic emblem of the sun in red rising over the blue of the sea, the symbol of the palace designed by Utrillo himself.

Inside, the Palace is arranged around the Gold Room, the Blue Room, the Chapel Room, the Ship’s Room and the cloister – which offers a wonderful panoramic view of the Mediterranean. Of the decoration, notable items include the sculptural elements by Pere Jou and the murals in the entrance hall by Josep M. Sert, inspired by the Great War. The complex is completed with various artistic elements that combine aesthetics and functionality, the work of numerous local artisans.

Disagreements between Deering and Utrillo meant the end of the initial Maricel Palace project. However, with the recent restoration of the architectural and conceptual whole and the reorganisation of the museum collection by the Maricel Museum, this extraordinary complex has had its vocation restored as a place dedicated to the arts, heritage and culture.

Jacint Verdaguer, author of L'Atlàntida and Canigó, and one of the great architects of the revival of Catalan as a literary language, lived part of his childhood in the current Verdaguer House-Museum in Folgueroles. Opened in 1967, it is one of the oldest literary museums in Catalonia.

The house is from the 17th century and is divided into ground floor (originally intended for the agricultural tools), first floor, attic and a courtyard at the rear. It is located at 7, Carrer Major in Folgueroles, next to Cal Doctor (no. 9). When the young Verdaguer lived there, the two houses formed a single building.

The project dates back to the early 20th century, when the idea arose of creating a museum in Folgueroles dedicated to the memory of Verdaguer. The collection - brought together by the Association Amics de Verdaguer (Friends of Verdaguer Association) with the advice of Eduard Junyent and Josep M. Garrut (curators of the MEV - Epsicopal Museum of Vic, and the MHCB - Barcelona City History Museum, respectively) - is arranged into three sections: biographical, with items that belonged to the poet; ethnographical, with various objects of everyday life (on the first floor, the domestic rooms of a mid-19th century house have been preserved); and the artistic, with pieces by artists such as Duran fields, Pahissa and Perejaume. Preserved in the library, are some 800 items among which are books, periodicals, graphical, sound and audiovisual materials.

Stroll around the Artigas gardens of La Pobla de Lillet and invariably you will be reminded of Park Güell in Barcelona. This is because they are the work of the same mind: Antoni Gaudí.

In 1905, the modernista architect who, having stayed for a few days at the home of the textile industrial Joan Artigas i Alart, wanted to thank him for his hospitality by designing a naturalistic garden for an area (known as the Font de la Magnèsia) which was next to his factory, on the banks of the river Llobregat. Thus, it is as though it copied – on a small scale – the fundamentals of Park Güell, where he was working at that time. In this case, however, it is not an urban garden. Gone, therefore, are the great open spaces and colourful ceramic tile shards or trencadis. Everything is made largely with rocky stone and mortar, taking advantage of the vegetation of the area. It is as though the park had pushed its way between nature.

Along the route the visitor will find a waterfall; an artificial cave with catenary arches from where the Font de la Magnèsia gushes forth; fountains; two stone bridges; a square; and, at the highest point, the Glorieta or gazebo, which acts as a lookout point.

Gaudí's universe is present in every detail of the complex. Jardinières, handrails, benches ... Everything imitates the forms of a fanciful nature. Nor does it lack Christian references: thus there are the sculptures of the eagle, the lion and the bull, distributed around the complex, together with an angel that has now gone, which are the symbols of the four evangelists and are arranged in the shape of a cross on the plan of the garden.

The writer Josep Pla is one of the most important prose writers in Catalan literature of the 20th century. Despite his travels, he did not forget his native Palafrugell. For this reason, in 1973 he donated his library to a newly created organisation, the Josep Pla Library Private Foundation, linked to the municipality. Since 1995, this literary heritage is to be found in the house of the writer’s birth, the current headquarters of the Fundació Josep Pla (Josep Pla Foundation).

At 49, Carrer Nou de Palafrugell, where the journalist spent his early childhood, you can immerse yourself in the life and work of the author of El Carrer Estret. In addition to being the custodian of his personal library, the Foundation has a bibliographical collection specialising in Josep Pla which is continually updated. This is complemented by the material of the Documentation Centre, which includes the author's manuscripts and personal documentation, articles from the newspaper library, a collection of images and videos and an art collection.

Since 2000, a permanent exhibition about Josep Pla (1897-1981) has been on display at the house of his birth, a survey of the personal and professional journey of the writer framed within the historical context of the 20th century. It ends with a room that illustrates the process of creating El Quadern Gris, Pla’s masterpiece, from his first notes in the original manuscript to the first edition of the text.

A la cruïlla entre el Baix Aragó i la desembocadura del riu Ebre, trobem un jaciment arqueològic ibèric molt inusual. Aquí, al punt més alt del recinte, s’ha conservat una gran torre , testimoni del seu període més gran (l’assentament ja existia cap al 600 aC, tot i que fou al segle V aC que es va fortificar). Però això no és tot. El coll del Moro és un dels pocs pobles ibèrics de Catalunya en què s’ha descobert una necròpolis visitable.

Situat en un punt estratègic d’Ilercavònia, l’assentament controlava el flux del comerç comercial entre la costa i l’interior. De manera significativa, s'ha localitzat un taller dissenyat per al processament del lliçó i la fabricació de tèxtils .

La necròpolis, amb tres zones sepulcrals , dades aproximadament entre els anys 800 i 450 aC sembla que conviurà amb la ciutat a la seva primera fase. El lloc estarà ocupat fins al segle I dC.

From the 5th century BC, what had been a small Iberian settlement at the top of a hill in front of the pools of the beach of Calafell, became one of the most notable villages of the Cessetani tribe. At this time, a strong wall was built and a large urban area mapped out. Part of the uniqueness of this site, however, is in the Museum. A large part of the Citadel of Calafell has been rebuilt using experimental archaeological criteria. The result is a scientific and educational experience which shows how the Iberians really lived.

Of the 3 hectares that the town occupied, almost all the whole area inside the wall has been excavated. It has been identified that some of the houses belonged to a warrior elite and that the home of the chief was at the highest point. Enclosures for domestic worship, a water well, ovens to bake bread, and towers that were used for storage have also been located.

The archaeological data extracted from the excavations allowed the village to be rebuilt in 1992, following museum models of the Nordic countries. It was decided that the site should represent the last phase of occupation, in the 3rd century BC, just before the Romanisation of the Iberian Peninsula. Thus, you can walk down the streets and go into the houses, which are even furnished with replicas of the objects found at the site. This work on the museum has meant that, since 2007, the Citadel of Calafell has been a member of the EXARC (European Exchange on Archaeological Research and Communication) network.

The painter Josep Guinovart i Bertran, the greatest representative of informalism, spent much of the Civil war in Agramunt, the home town of his mother. He was then about 9 or 10 years old. To escape the bombardments, he lived with his family in a hut in a field. Despite the fact that he returned to Barcelona in 1941, this experience brought him closer to nature and to the rural environment that influenced his work and connected him forever to the municipality. So much so that in 1990 the artist wanted to create a centre for the creation and promotion of contemporary art in Agramunt: the Espai Guinovart.

It was inaugurated in 1994 and is housed in an old market building from the 1930s. The side porches, where the stalls were located, have been preserved. They have now been converted into galleries to display the Foundation’s Collection on a rotating basis. The large central space, formerly occupied by open stalls, now houses the Mural de les quatre estacions (Mural of the Four Seasons) and two installations: La cabana (The Hut) and L’era (The Threshing Floor).

These three works were conceived especially for the Espai Guinovart. They are centred around Agramunt, the territory, its landscape and its people. From the imagination centred on the locality, a universal vision is created that deals with themes such as the cycle of life or the habitat in relation to nature.

The Mediterranean climate - long dry summers, mild winters and rain in spring and autumn - is found on only 5% of the Earth’s surface, in five regions. These are present in the Jardí Botànic de Barcelona (Botanical Garden of Barcelona), opened in 1999 and located on the hill of Montjuïc. Arranged over 14 hectares of gently sloping ground are botanical collections from Australia, Chile, California, South Africa and the Mediterranean basin, including the Canary Islands.

The area has been designed by the architects Carles Ferrater and Josep Lluís Canosa, the landscape architect Bet Figueras, the biologist Joan Pedrola and the horticulturist Artur Bossy. Within what seems to be a large, natural amphitheatre, the planting is organised geographically, as well as being grouped for ecological affinities. The designers took advantage of the terrain in order to create the areas and roads while avoiding excessive earth movement.

Notable among its objectives is the conservation, documentation and dissemination of the natural heritage of Catalonia. For this reason, the grounds also houses the building of the Institut Botànic de Barcelona (Botanic Institute of Barcelona), which has an important library and one of the largest herbariums in Catalonia.
Montjuïc botanical garden exists side-by-side with the Jardí Botànic Històric (Historic Botanical Garden), opened in 1941 in the Foixarda area. Its location promotes the growth of the Euro-Siberian species of plants. In 1986, it had to close because it was affected by the construction of the Olympic facilities, although it reopened in 2003.