The Council Chamber, located in the 18th-century building that houses the Town Hall, not only represents the political heart of the village but has also long served as an art gallery. The most important work preserved here is a painting by Claudio Ridolfi, dating back to 1630, depicting the Coronation of the Virgin. The large hall features half-bust portraits of local benefactors along its walls and can accommodate up to 99 people. This venue is ideal for those wishing to host a large number of guests, as well as for lovers of fine art, who will be able to admire the work of the renowned painter of Venetian origin. The hall is equipped with a sound amplification system, and it is also possible to enhance the event with music.

In 1487, the Chapter of St. John Lateran authorized the municipal authorities of Morro and the Confraternity of St. Benedict to build a church or chapel on a piece of its property along the village, not far from the castle. By 1512, the building was already constructed, and to this day, the façade bears the Chapter’s coat of arms, the only surviving element of the original architectural structure. Between 1608 and 1627, the church was part of a small Franciscan convent established on the site. After various renovations, it transitioned from a confraternity church to a parish church in 1884, when the rights of the Church of Santa Maria del Fiore were transferred to it. The building features a façade with decorative white stone elements dating to the 1930s renovation and an interior with a basilica layout consisting of a single nave. The ceiling, the arch between the nave and the presbytery, and the vault of the presbytery itself were frescoed at the end of the 1940s by Marcantonio Bedini from Ostra and his young son, Tarcisio. Along the long walls are two remarkable wooden altarpieces, called “ancone,” from the late 16th century, created by local master craftsmen skilled in wood carving. The right wall houses a 1595 painting by Ercole Ramazzani of Arcevia, a former pupil of Lorenzo Lotto, depicting the Immaculate Conception flanked by two rows of angels, with Saint Michael the Archangel and Saint Benedict. On the opposite wall, a painting from the first half of the 17th century depicts the Madonna of Loreto, at the center between Saint Teresa, Saint Clare, Saint Francis, and Saint Anthony. In the presbytery, in a niche above the altar, there is a gilded wooden throne from the late 19th century containing a small canvas painting of the Madonna del Consiglio.

A reference point for those seeking high-quality bread, pasta, and pastries. With special attention to local ingredients, it offers a wide range of fresh, artisanal products, from excellent bread to delicious sweets inspired by the culinary traditions of the Marche region.

The Utensilia Museum in Morro d'Alba is a detached section of the "Sergio Anselmi" Sharecropping History Museum in Senigallia.

To use the facilities, it is necessary to complete the following form at the time of booking: Sports Facility Usage Responsibility Agreement Rates will be provided at the time of booking.

The medieval dedication to Santa Maria di Marciano changed after reconstruction to Santa Maria del Fiore di Marciano, because the single altar was decorated with a fresco of the pregnant Virgin holding a rose—a depiction that was rare and soon abandoned, as it was considered unsuitable to represent Mary’s mystical role. The current building appears simple, and at first glance does not reflect the numerous transformations it underwent over the centuries. During a restoration and structural consolidation carried out by the Superintendency for Environmental and Architectural Heritage, unexpected richness in the church’s decorative elements was revealed. On the left wall, there is a depiction of the Virgin with a chalice, a long cross, and a vase from which floral elements emerge. On the right wall, the Virgin and Child, an image of a praying saint, and floral and vegetal decorations are represented. These frescoes were executed with a mixed technique, partly in true fresco and partly in dry tempera, and can be chronologically placed between the late 17th century and the early 18th century.