Two thousand years ago one of history's most notorious individuals was born. Professor Mary Beard embarks on an investigative journey to explore the life and times of Gaius Julius Caesar Augustus Germanicus - better known to us as Caligula. Caligula has now become known as Rome's most capricious tyrant, and the stories told about him are some of the most extraordinary told about any Roman emperor. He was said to have made his horse a consul, proclaimed himself a living God, and indulged in scandalous orgies - even with his own three sisters - and that's before you mention building vast bridges across land and sea, prostituting senators' wives and killing half the Roman elite seemingly on a whim. All that in just four short years in power before a violent and speedy assassination in a back alley of his own palace at just 28-years-old." But how much of his story is true? Travelling across the Roman world - from Germany and Capri in the bay of Naples to the astonishing luxury of his life in imperial Rome - Mary attempts to peel away the myths. Some stories are difficult to get to the bottom of as they were written by hacks long after his death, but there is plenty of surviving evidence where the 'real' Caligula can be glimpsed. Such as in the extraordinary luxury of his private yachts outside Rome; in the designs he chose for his coins when he became Emperor; in an eye-witness account of Caligula's withering humour written in 41AD; the trial documents covering the mysterious death of his father when he was just seven-years-old; and even in a record of his imperial slaves - from the palace spy to his personal trainer. Piecing together the evidence, Mary puts Caligula back into the context of his times to reveal an astonishing story of murder, intrigue and dynastic family power. Above all, she explains why Caligula has ended up with such a seemingly unredeemable reputation. In the process, she reveals a more intriguing portrait of not just the monster, but the man.

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.

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.

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.

The determination of the German forces to keep on fighting in the face of defeat had disastrous consequences. After the Allied landings in the summer of 1944, the Wehrmacht was on the defensive on all fronts. It was clear to the German generals interned at Trent Park that Germany would soon lose the war. In mid-1944, Gerhard Graf von Schwerin chose to use common sense instead of blindly obeying Hitler's orders. He decided to surrender the city of Aachen to the US army to avoid bloodshed. Other commanders such as Field Marshal Ferdinand Schorner kept on pushing their soldiers to give their all. Despite being outnumbered by the Soviet forces, Schorner forced his soldiers to hold out in Sworbe, a 200 square kilometre peninsula on the coast of Estonia. Thousands of soldiers died. Yet Schorner's attitude and the urging by Hitler and Goebbels to hold out were accepted by a large number of young soldiers. By April 1944, the Ruhr pocket was completely surrounded, yet Field Marshal Model refused to surrender, so that 1.2 million German soldiers and a large number of Allied soldiers died between January and May 1945.

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.