Arguably the most powerful painting about war ever achieved. It portrays the slaughter of civilians after Napoleonic troops entered Madrid in 1808. The programme reveals the historical truths behind the painting and shows exactly how Goya achieved this masterpiece of protest. he painting's content, presentation, and emotional force secure its status as a groundbreaking, archetypal image of the horrors of war. Although it draws on many sources from both high and popular art, The Third of May 1808 marks a clear break from convention. Diverging from the traditions of Christian art and traditional depictions of war, it has no distinct precedent, and is acknowledged as one of the first paintings of the modern era.
According to the art historian Kenneth Clark, The Third of May 1808 is 'the first great picture which can be called revolutionary in every sense of the word, in style, in subject, and in intention'. Discover how Goya used drawings by authentic witnesses to depict a real firing squad.

In the third part of his journey into the history of Christianity, Professor Diarmaid MacCulloch charts Orthodoxy's extraordinary fight for survival. After its glory days in the eastern Roman Empire, it stood right in the path of Muslim expansion, suffered betrayal by crusading Catholics, was seized by the Russian tsars and faced near-extinction under Soviet communism. MacCulloch visits the greatest collection of early icons in the Sinai desert, a surviving relic of the iconoclastic crisis in Istanbul and Ivan the Terrible's cathedral in Moscow to discover the secret of Orthodoxy's endurance.

The Queen of Sheba - an exotic and mysterious woman of power - is immortalised in the world's great religious works, among them the Hebrew Bible and the Muslim Koran. She also appears in Turkish and Persian painting, in Kabbalistic treatises, and in medieval Christian mystical works, where she is viewed as the embodiment of Divine Wisdom and a foreteller of the cult of the Holy Cross. In Africa and Arabia her tale is still told to this day and, indeed, her tale has been told and retold in many lands for nearly 3,000 years.

Between 1850 and 1950, three cataclysmic revolutions shook China to the core, but out of them, today's China emerged. The film begins in Canton with the meeting of a US missionary and a Chinese student. Inspired by the Christian story and calling himself God's second son, Hong unleashed the bloodiest war of the 19th century, the Taiping Rebellion.
As imperial China weakened, foreign influence grew. Treaty ports expanded, bringing growth and wealth, trams, railways and western sensibilities. But this provoked another surge of violence, the Boxer Rebellion, an attack against the foreigners, which was crushed by those same foreigners, who extorted a huge indemnity - $60 billion in today's money.
Then in 1912, the empire fell, and many groups contested China's future. In World War I, China sent 100,000 men to the western front, only to be humiliated at Versailles when German colonies in China were handed to Japan. Between the two world wars, the disparity between rich and poor, city and countryside increased. We visit Hong Kong's Peninsular Hotel in the jazz age and then follow Mao on the Long March to Yan'an, the heartland of revolution.
World War II came to China two years earlier than it did in the west. Wood talks to a survivor of the Japanese massacre of Nanjing in 1937 and then charts the triumph of the communists, before ending the story with Mao's death and the boom time of the last 30 years. The series ends with the warmth of the Chinese family and, at Beijing's Altar of Heaven, a final haunting glimpse of eternal China.

Atheist and scientist Richard Dawkins visits England, America and Israel interveiwing prominant people of faith; Islamic, Hasidic Jews, and the new Christian sects popping up throughout the world, and expressing his view of the extent to which this fanaticism has degraded our civilisation, and will continue to degrade it. "The God Delusion" explores the unproven beliefs that are treated as factual by many religions and the extremes to which some followers have taken them. Dawkins opens the programme by describing the "would-be murderers ... who want to kill you and me, and themselves, because they're motivated by what they think is the highest ideal." Dawkins argues that "the process of non-thinking called faith" is not a way of understanding the world, but instead stands in fundamental opposition to modern science and the scientific method, and is divisive and dangerous.

Michael Wood tells the tale of China's first great international age under the Tang Dynasty (618-907). From the picturesque old city of Luoyang, he travels along the Silk Road to the bazaars of central Asia and into India on the track of the Chinese monk who brought Buddhism back to China. This tale is still loved by the Chinese today and is brought to life by storytellers, films and shadow puppet plays. Then in the backstreets and markets of Xi'an, Michael meets descendants of the traders from central Asia and Persia who came into China on the Silk Road. He talks to Chinese Muslims in the Great Mosque and across town hears the amazing story of the first reception of Christianity in 635. Moving south, Michael sees the beginnings of China as an economic giant. On the Grand Canal, a lock built in 605 still handles 800 barges every day! The film tracks the rise of the silk industry and the world's favourite drink - tea. Michael looks too at the spread of Chinese script, language and culture across east Asia. 'China's influence on the East was as profound as Rome on the Latin West', he says, 'and still is today'. Finally, the film tells the intense drama of the fall of the Tang. Among the eyewitnesses were China's greatest poets. In a secondary school in a dusty village, where the Chinese Shakespeare - Du Fu - is buried in the grounds, the pupils take Michael through one famous poem about loss and longing as the dynasty falls. And in that ordinary classroom, there is a sense of the amazing drama and the deep-rooted continuities of Chinese culture.