During 1959-1961 both the Americans and Soviets are planning manned space flight, and we see both sides preparing to do so with the development of the Vostok programme (Russia) and Project Mercury (USA). After difficulties and failures on both sides, the Soviets succeed in putting Yuri Gagarin into space first, with the Americans putting Alan Shepard up shortly afterwards.

The series concludes by delving into the world of satirical maps. How did maps take on a new form, not as geographical tools, but as devices for humour, satire or storytelling? Graphic Artist Fred Rose perfectly captured the public mood in 1880 with his General Election maps featuring Gladstone and Disraeli, using the maps to comment upon crucial election issues still familiar to us today. Technology was on the satirist's side with the advent of high-speed printing allowing for larger runs at lower cost. In 1877, when Rose produced his 'Serio Comic Map of Europe at War', maps began to take on a new direction and form, reflecting a changing world. Rose's map exploited these possibilities to the full using a combination of creatures and human figures to represent each European nation. The personification of Russia as a grotesque-looking octopus, extending its tentacles around the surrounding nations, perfectly symbolised the threat the country posed to its neighbours.

The State Hermitage Museum in St Petersburg is one of the largest and most visited museums in the world. Margy Kinmonth's film tells the story of its journey from imperial palace to state museum, investigating remarkable tales of dedication, devotion, ownership and ultimate sacrifice, showing how the collection came about, how it survived tumultuous revolutionary times and what makes the Hermitage unique today. Holding over three million objects and boasting more curators than any other museum, the Hermitage's story is Russia's history in microcosm and its art has lived to tell the tale

The final part examines political revolution and how art was at the forefront of throwing out 1,000 years of royal rule, from its earliest revolutionary days of enthusiasm and optimism when painting died, the poster was king and the machine-made triumphed over the handmade to the dead hand of Socialist Realism. Andrew roots out great portraits of Stalin now hidden in museum storerooms and never on public view, looks at the transformation of the Moscow metro into a great public art gallery and visits the most stunning creation of post-war Communist rule, the Space Monument. Finally, he comes to the confusion and chaos of Russia today and how it is producing some of the world's strangest art - from heroic sculptures of Russian leader Vladimir Putin to the insides of a giant erotic apple; from the recreation of the Imperial royal family facing the firing squad to sculpture in liquid oil; from Russia's embrace of the commercial art market to a return to Socialist Realism. Russia seems to stand on another brink of revolution.

Tim Whewell is in St Petersburg to meet the self-styled Russian nationalists and patriots who are volunteering to join the fighting in eastern Ukraine. He joins a group of volunteers as they undertake military training, and travels to Ukraine to see how the volunteer force is fighting on the ground.

The Russian Arctic is one of the world’s most extreme habitats, yet it is a haven for polar bears, lemmings, arctic foxes and walruses. In late August, massive muskoxen bulls gather together to compete for mating dominance. Each bull can weigh 400 kilogram’s and charge at a speed of 40 kilometres an hour; a head-to-head impact can be heard more than a kilometre away