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.

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.

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.

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.

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

If two important works of Piero's survived the bombings during World War II, it was due to the efforts of art historians and restorers such as Ugo Procacci. In addition to the Resurrection, a wonderful painting of the Virgin Mary as she was expecting a child, "La Madonna del Parto" was saved and is now housed in the museum in Monterchi, Arezzo.

Franco Calafatti knows a great deal about spices but he also loves to experiment. The star of this segment is cinnamon.

This fascinating segment is all about salt: Our spice journey takes us to Sicily, where much of Italy's salt is harvested. Franco talks about how salt is life, salt is gold.

Franco shows us some infused salts that we would never think of off hand. His descriptions are colorful and make us want to try out these delicacies.

Franco is crazy about spices. He draws us into his world, the world of the 7 (not just 5) senses. In his stream of consciousness style, he prepares us for traveling the four corners of the earth to discover all the tastes and fragrances awaiting us.

This documentary opens with some lines from a poem by Pier Paolo Pasolini, “10 giugno” from 1962. The famous filmmaker and poet talks about his life, beginning with his troubled relationship with his father.