We learn more about how and why Piero's Resurrection was moved from its original position. It's fascinating.

We learn some more about the origins of Piero's Resurrection and why it might have been commissioned. As with other works of art, the Resurrection likely had political symbolism as well as religious symbolism.

Rita Levi Montalcini dedicated a great part of her life to young people, especially young researchers, and though she had no children of her own, she felt that all kinds of young people were like sons and daughters to her.

As a result of historical research and restoration, it was discovered that the Resurrection had not been painted on the wall on which we now see it, but had been transported from another location, likely the external facade of the building, under the arengario of Borgo Sansepolcro.

Rita Levi Montalcini felt that imagination was the "secret sauce" of her research. And this encouraged her to turn to young people, who have plenty of imagination. She didn't hesitate to teach kids of junior high school age, which came as a surprise to some people, since she was a winner of the Nobel prize.

Had the Resurrection always been in the same spot or had it been moved? We are taken through the questions journalists and historians have to ask: where, when, and why. A researcher, after much research, finally found the answer.

Rita Levi Montalcini talks about when she won the Nobel Prize in 1986. Her niece, Piera, tells the story from her point of view, and Paola Tarassi, a research student of hers, tells about studying with her after she had already won the Nobel.

We take a look at the details of Piero's Resurrezione, details we might not notice by looking at the painting as a whole. Why is Christ not dressed in white? Is there something special about the countryside in the background? The answers are fascinating.

Comedian and actor Caterina Guzzanti is a guest at a middle school in Afragola, in the province of Naples, a school named after Rita Levi Montalcini. Guzzanti meets with the students from the theater class for a lesson on the imagination, which has a lot of importance in her work but was also very important to the great researcher from Turin, Montalcini.

Retouching the painting is a very delicate job, and is done in such a way as to be reversible, and respectful to the original.

With techniques available today, it is possible to distinguish the various layers of plaster used on different days of work, to determine in what order the artists and their assistants applied the paint. And during the cleaning, details can come out that were previously not visible, including buildings and even letters of the alphabet.

Giuliano talks about his beginnings as a director. Vera threatened to leave him when he thought he might accept certain jobs.

For art historians, it is so interesting to try to figure out, with the materials at hand, what Piero wanted his work to finally look like, but it's a challenge, as the artist's initial sketches have been lost.

Vera's daughter was a teenager when Giuliano began courting her mother. Giuliano tells some stories about World War II and how crazy things were.

It's rare for a work of art to become the symbol of a city and even be part of its coat of arms, but this did indeed happen in Borgo Sansepolcro. Piero's Resurrection may be thought of as a fresco, but it's much more complicated than that, as we learn in this segment.