Dr Thomas Dixon delves into the BBC's archive to explore the troubled relationship between religion and science. From the creationists of America to the physicists of the Large Hadron Collider, he traces the expansion of scientific knowledge and asks whether there is still room for God in the modern world. He looks at what happens when new scientific discoveries start to explain events that were once seen as the workings of God, and explains how some of our most famous scientists have seen God in the grandest laws of the universe. Finally, he finds intriguing evidence from brain science which hints that belief in God is here to stay.

This is the story of three maps, three 'visions' of London over three centuries. The Morgan Map of 1682 was the first to show the whole of the City of London after the Great Fire of London. In 1746 John Rocque produced at the time the most detailed map ever made of London. Like Morgan's, Rocque's map is all neo-Classical beauty and clinical precision, but the London it represented had become the opposite. In engravings of the time, such as Night, the artist William Hogarth shows a city boiling with vice and corruption. Stephen Walter's contemporary image, The Island, plays with notions of cartographic order and respectability. His extraordinary London map looks at first glance to be just as precise and ordered as his hero Rocque's but, looking closer, it includes 21st century markings such as 'favourite kebab vans' and sites of 'personal heartbreak'.

The Dutch Golden Age saw map-making reach a fever pitch of creative and commercial ambition. This was the era of the first ever Atlases - elaborate, lavish and beautiful. This was the great age of discovery and marked an unprecedented opportunity for mapmakers who sought to record and categorise the newly acquired knowledge of the world. Rising above the many mapmakers in this period was Gerard Mercator, inventor of the Mercator projection, who changed mapmaking forever when he published his collection of world maps in 1598 and coined the term 'Atlas'. The programme looks at some of the largest and most elaborate maps ever produced, from the vast maps on the floor of the Royal Palace in Amsterdam, to the 24 volume atlas covering just the Netherlands, to the largest Atlas in the world, The Klencke Atlas. It was made for Charles II to mark his restoration in 1660. But whilst being one of the British Libraries most important items, it is also one of its most fragile so hardly ever opened. This is a unique opportunity to see inside this enormous and lavish work, and see the world through the eyes of a King.

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.

Iain explores man's relationship with fire. He begins by embarking on an extraordinary encounter with this terrifying force of nature - a walk right through the heart of a raging fire. Fire has long been our main source of energy and Iain shows how this meant that the planet played a crucial role in Britain's industrial revolution, whilst holding China's development back. Along the way he dives in a mysterious lake in Oregon, climbs a glacier of salt, crawls through an extraordinary cave in Iran and takes a therapeutic bath in crude oil.

There is a tendency to deny German culture the equal reverence of Italy or Spain, and this enlightening new series provides a wonderful opportunity to explore a great, yet often neglected, artistic tradition whose influence has been just as profound. Andrew Graham-Dixon concludes his exploration of German art by investigating the dark and difficult times of the 20th century. Dominating the landscape is the figure of Adolf Hitler, failed artist, would-be architect and obsessed with the aesthetics of his 1,000-year Reich". In a series of extraordinary building projects and exhibitions, Hitler waged a propaganda war against every form of modern art as a prelude to unleashing total war on the whole of Europe. After the war the shadow of the Third Reich persisted, Germany remained divided and traumatised. How would artists deal with a past that everybody wanted to forget? Journeying through the work of Otto Dix and George Grosz and the age of the Bauhaus to the post-war painters Georg Baselitz, Hilla Becher and the conceptual artist Joseph Beuys is a long and strange journey, but the signs that art has a place at the heart of the new reunited Germany are clearly visible.