The doctor and Luigi finish discussing the results of his exam. The message is always the same, however. One step at a time. Captions 6-8 are a great example of how lei can mean different things and cause confusion.

A patient's hemoglobin count is very important. If it's high enough, a patient can make it to the hospital bar. But then?

Luigi makes it all the way to the bar, and once there, it is as his roommates predicted. He doesn't know what to order. He reflects on what metterci la testa (putting one's mind to it) means for him.

Luigi can't wait to get out of the hospital and is dreaming of drinking a toast once he's out. Amed puts on the brakes right away.

One of the patients has a curious conversation with his doctor about diet.

This episode begins with the funeral of a patient, in the hospital chapel.

Amed gets ready to leave the hospital. Luigi gets his stitches removed and talks to a doctor about what he'll have to do in the future.

It's time for Amed to leave the hospital, but he's not quite ready. There are various types of goodbyes happening.

Riccardo, the priest, is having a hard time. His mother is trying to help him in her way. Barbieri keeps bothering Giusi. The patient who seems to think he is a doctor gives Luigi some news.

Luigi has to listen to an interminable list of possible side effects to the drugs he will be taking. Could it be that he is actually going home?

Two of the doctors meet up in the hall and get into a spat about which job is more noble, that of an oncologist or that of a surgeon.

Luigi reflects on how so many Italians, though living in a marvelous place, would like to be somewhere else, do something else, etc. But there are exceptions.

Luigi continues reflecting on how his illness changed his life in various ways, not all of them negative. Un passo alla volta (one step at a time).

As he leaves the hospital with his wife, Luigi talks about how his perspective changed having had an experience such as he did.

Borgo Sansepolcro is an out-of-the-way Tuscan city. But, as this video sets out to explain, it boasts one of the most beautiful paintings in the world, so it is well worth the journey. The video begins with some passages from a 1925 essay by Aldous Huxley: “The Best Picture.” We have translated the Italian translation back into English, for learning purposes, but you can find the original English version here.

The host describes the fascinating story of a British army captain who, during World War II, happened to have read Aldous Huxley's words (quoted in the previous segment), and remembered them just in time.

Restoring the Resurrection was a lengthy and complex process, consisting of reinforcement, cleaning, and the retouching of the painting itself.

The restorers take us through the meticulous cleaning process involving Japanese rice paper, a gel made from marine algae, and a solvent.

Piero was not just a painter; he was a member of an important family in Borgo Sansepolcro. There is a fresco painting attributed to him that might have alluded to the family business, which was producing and selling leather goods.

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.

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.

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.

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

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.