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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 French army stops the German advance at the battle of the Marne, while the Germans halt the Russians at Tannenberg on the eastern front. In France, the warring parties dig themselves in for 4 years in the trenches. Soldiers from the colonies come lend a hand to their colonizers and the war becomes global.

1917. People have had enough of the war. Behind the scenes, uprisings are brewing, like the one that toppled the Tsar in Russia; on the front soldiers begin to mutiny as they did at Chemin des Dames in France. German submarine attacks in the Atlantic will finally pull the Americans into the war, but they arrive too late to help prevent the carnage of the Battle of Passchendaele.

All seems lost for the Allies. The Italians are defeated at Caporette, and a Bolshevik Russia pulls out of the war. But the American reinforcements are decisive, and the Allies emerge victorious. The Allies are unable to negotiate an honourable peace agreement, and the Treaty of Versailles, 20 years later, will have disastrous

Andrew Graham-Dixon explores how Russia changed from a feudal nation of aristocratic excess to a hotbed of revolution at the beginning of the 20th century and how art moved from being a servant of the state to an agent of its destruction. From monuments that celebrate the absolutism of the tsars to the epic Russian landscape as inspiration; from the design and construction of gold and glittering palaces to the minutiae of diamond-encrusted Faberge eggs; and eventually to the stark and radical paintings of the avant-garde, the journey through Russian art history is one of extraordinary beauty and surprise.

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.