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

Inti, who was the 9-year-old grandson of Giuliano and Vera, went to see them as they were filming in China. They put him to work and the experience had a huge influence on him.

Fulvio describes the monument we look at in this segment before telling what it is. The story has some pretty surprising aspects.

As a child, Rita Levi Montalcini was shy and insecure. Her father wanted her to get married and have children, but she had other plans for her life. She also had a twin sister who was an artist.

Marika has set up a Q & A series of videos specifically designed to answer your questions in more detail and with more examples than what is possible in the comments section of a Yabla video. She explains how it works in this video, so don't miss out on the opportunity to get your questions answered!

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.

Montaldo tells how the film about Marco Polo came about. It was shot on three different continents.

Rita Levi Montalcini talks about what, as a little girl, she wanted to be when she grew up. One of her main goals was to help women, especially ones from poor countries, become what they were meant to become.

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.

What works in the relationship between Vera and Giuliano is partly the fact that they complement each other, like yin and yang. They talk about a biographical movie they made about Giordano Bruno, a 16th-century Italian philosopher and cosmological theorist, with Gian Maria Volonté.

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.

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.

Giuliano and Vera talk a little bit about the music for the Sacco and Vanzetti film, as well as a serendipitous moment in NY connected with that. When the film came out it had success, especially with young people. Their outrage about the unfair trial led to the governor of Massachusetts recognizing the unfairness of their trial.

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.

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.