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Andrew Graham-Dixon begins his exploration of German art by looking at the rich and often neglected art of the German middle ages and Renaissance. He visits the towering cathedral of Cologne, a place which encapsulates the varied and often contradictory character of German art. In Munch he gets to grips with the earliest paintings of the Northern Renaissance, the woodcuts of Albrecht Durer and the cosmic visions of the painter Albrecht Altdorfer. Andrew also embarks on a tour of the Bavarian countryside, discovering some of the little-known treasures of German limewood sculpture.

How did Hitler decide he was a messiah and persuade a whole nation to follow him to damnation? This is a subject that has been mined many times in fiction - Raiders Of The Lost Ark, Constantine, Hellboy, Bulletproof Monk and English horror writer James Herbert's book The Spear - as well as documentary. Based on Ken Anderson's 1995 book of the same name, this aims to show how the Nazi party was originally made up of several occult groups that believed a messiah was on the way to save Germany.

Painted over five centuries ago, Filippo Lippi's nativity is like none other: it shows the birth of Christ in a dark, wooded wilderness. There are no shepherds, kings, ox, ass – there is no Joseph. Its beauty inspired Michelangelo, Leonardo da Vinci and Botticelli. But it also conceals a deeply personal story. It was painted for Cosimo de Medici, a wealthy banker who feared that his money was dragging him straight to hell. The artist's life was equally surprising. One of the most celebrated painters of his day, Filippo Lippi was also a Carmelite friar, but he was no stranger to the temptations of the flesh, to which he frequently yielded. Shortly before painting his Adoration, he caused uproar by seducing a twenty year-old nun. His paintings rejoice not only in divine beauty, but in the beauty of women. In later times, the Adoration's history was interwoven with that of rulers and dictators. It became a bargaining chip after Napoleon's allies seized twenty merchant ships. And in the 20th century, it was hidden by the Nazis in a potassium mine, where specialist american officers, known as Monuments Men, stumbled upon it. they were now told to get it ready to be shipped out. In an unprecedented turn of events they refused. This is the only known case in the whole of the Second World War of American officers refusing an order. It was sent to the National Gallery of Art, but in 1949 Lippi's Adoration was returned to Germany.

This illuminating ten-part series tells the story of World War ll through the ten most pivotal turning points in the conflict. Gripping story-telling illustrated with exquisitely restored and colourised archived films and supported by a global cast of stellar historians bring this crucially important era in history to life.
In the first chapter, Britain and France declare war when Hitler invades Poland. In May 1940 the Germans attack Holland and Belgium as a decoy. As the Wehrmacht comes through the Ardennes and the Luftwaffe strikes in force, French leaders are caught like rabbits in headlights. The Germans are on a drug called Pervitin, which beats off fatigue, and reach the Atlantic coast. There is a danger that the Germans will encircle the Allies and cut them off from the sea. But Hitler issues his Halt Order and some 340,000 Allies are evacuated.

Soldiers and officers continually came into conflict with their consciences. How much freedom did individuals have? Were they executing Hitler's criminal plans, or was it the Wehrmacht's war? There were crimes against humanity, against civilians, prisoners of war, and there was the Holocaust itself. The Trent Park records discovered and analysed by historian Sönke Neitzel, author of Tapping Hitler's Generals, show that the 84 German generals who were interned at Trent Park were aware of the severity of the war crimes they had been involved in and that some discussed them almost compulsively. They included the Commissar Order, to kill any Soviet commissar, and Rathenau's order to kill the Jews, including children.

Part 2 examines how the freewheeling modernism that had shocked audiences in the first two decades of the century came under state control. Initially, many practitioners thought the totalitarian regimes would be good for music and the arts. What followed in Germany was a ban on music written by Jews, African-Americans and communists, while in the Soviet Union there was a prohibition on music the workers were unable to hum. After the cataclysm of the 1940s, a new generation of composers - Boulez, Stockhausen, Xenakis, Nono, Ligeti - turned their back on what they saw as the discredited music of the past and tried to reinvent it from scratch. Or, at least, from serialism, which became as much of a straitjacket as totalitarianism's strictures had been. But from this period of avant-garde experimentation, which many listeners found baffling and terrifying, came some of the most influential and radical musical innovations of the century.