Caravaggio meets Onorio Longhi, Italian architect and poet, and a bit of a bohemian. Longhi takes him to meet his friend Cesare D'Arpino, who is looking for assistants in his workshop.

This documentary is about Guido Crepax, the creator of a famous fumetto (comic strip) that came out in 1965. The main characters are Philip Rembrandt, an art critic, and Valentina Rosselli, a photojournalist.

Caravaggio falls ill and makes the acquaintance of Mario Minniti who becomes a friend to him. He takes him to the hospital of the church of Santa Maria della Consolazione in Rome.

Once in Rome, Caravaggio looks for work in the studios of 2 Italian painters who were well-known at the time. Nobody seems very interested in his work.

Michele goes back home after his mother dies and there, he spends some time with his childhood friend, Costanza Colonna. He tells her about his plans to go to Rome, the artistic center of the universe.

Michele manages to find a home for his painting, and receives something in exchange. Still at Maestro Simone's workshop, he grows up into a man and ends up trying to defend a young apprentice from being abused as he had been.

Michele has a rough time of it in Master Simone's workshop. It's clear, however, that he has talent. A Knight of Malta comes into the workshop to have a look.

Some years have passed, and Michele's widowed mother has had some difficult decisions to make regarding her children. One of these is to send 12-year-old Michele to Milan to be an apprentice at the workshop of the well-known artist, Simone Peterzano. Michele has no desire to leave home and family.

Caravaggio is a TV mini-series based on the life of the Italian painter Michelangelo Merisi da Caravaggio. It opens in 1577 when the painter was 5 years old. The plague had just hit and people who were still alive were burning their household possessions.

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.

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.

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.

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.

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