Melvyn Bragg and guests discuss hell and its representation in literature and the visual arts, through the ages from Ancient Egypt to modern Christianity. Why do certain religions have a Satan figure and others don’t? And why did hell shift from the underworld to here on earth in 20th Century representations?A fiery vault beneath the earth or as Sartre put it, other people - it seems our ideas of hell are inevitably shaped by religious and cultural forces. For Homer and Virgil it’s a place you can visit and return from, often a wiser person for it. With Christianity it’s a one way journey and a just punishment for a sinful, unrepentant life. Writers and painters like Dante and Hieronymus Bosch gave free rein to their imaginations, depicting a complex hierarchical world filled with the writhing bodies of tormented sinners. In the 20th century hell can be found on earth in portrayals of war and the Holocaust but also in the mind, particularly in the works of TS Eliot and Primo Levi. So what is the purpose of hell and why is it found mainly in religions concerned with salvation? Why has hell proved so inspirational for artists through the ages, perhaps more so than heaven? And why do some ideas of hell require a Satan figure while others don't?With Martin Palmer, Director of the International Consultancy on Religion, Education and Culture; Margaret Kean, Tutor and Fellow in English at St Hilda’s College, Oxford; Neil MacGregor, Director of the British Museum.

Melvyn Bragg and guests discuss the Diet of Worms, an event that helped trigger the European Reformation. Nestled on a bend of the River Rhine, in the South West corner of Germany, is the City of Worms. It’s one of the oldest cities in central Europe; it still has its early city walls, its 11th century Romanesque cathedral and a 500-year-old printing industry, but in its centre is a statue of the monk, heretic and founder of the Protestant Reformation, Martin Luther. In 1521 Luther came to Worms to explain his attacks on the Catholic Church to the Holy Roman Emperor, Charles V, and the gathered dignitaries of the German lands. What happened at that meeting, called the Diet of Worms, tore countries apart, set nation against nation, felled kings and plunged dynasties into suicidal bouts of infighting. But why did Martin Luther risk execution to go to the Diet, what was at stake for the big players of medieval Europe and how did events at the Diet of Worms irrevocably change the history of Europe? With Diarmaid MacCulloch, Professor of the History of the Church at Oxford University; David Bagchi, Lecturer in the History of Christian Thought at the University of Hull; Reverend Dr Charlotte Methuen, Lecturer in Reformation History at the University of Oxford.

Melvyn Bragg and guests discuss the Spanish Inquisition, the defenders of medieval orthodoxy. The word ‘Inquisition’ has its roots in the Latin word 'inquisito' which means inquiry. The Romans used the inquisitorial process as a form of legal procedure employed in the search for evidence. Once Rome's religion changed to Christianity under Constantine, it retained the inquisitorial trial method but also developed brutal means of dealing with heretics who went against the doctrines of the new religion. Efforts to suppress religious freedom were initially ad hoc until the establishment of an Office of Inquisition in the Middle Ages, founded in response to the growing Catharist heresy in South West France. The Spanish Inquisition set up in 1478 surpassed all Inquisitorial activity that had preceded it in terms of its reach and length. For 350 years under Papal Decree, Jews, then Muslims and Protestants were put through the Inquisitional Court and condemned to torture, imprisonment, exile and death. How did the early origins of the Inquisition in Medieval Europe spread to Spain? What were the motivations behind the systematic persecution of Jews, Muslims and Protestants? And what finally brought about an end to the Spanish Inquisition 350 years after it had first been decreed? With John Edwards, Research Fellow in Spanish at the University of Oxford; Alexander Murray, Emeritus Fellow in History at University College, Oxford;Michael Alpert, Emeritus Professor in Modern and Contemporary History of Spain at the University of Westminster

Melvyn Bragg and guests discuss the literary and visual depiction of fairies, supernatural creatures that inhabit a half-way world between this one and the next.'They stole little Bridget for seven years long; When she came down again her friends were all gone. They took her lightly back, between the night and morrow; They thought that she was fast asleep, but she was dead with sorrow. They have kept her ever since deep within the lake, On a bed of flag-leaves, watching till she wake.' When the 19th century Anglo-Irish poet Richard Allingham wrote his poem The Fairies, he was replicating a belief about supernatural figures who steal children that stretched back to ancient Persian myths that date from 3000 BC. So universal is the terror of losing a child that the images of a lonely lost child and a mother who loses her child to fairies exist in civilisations everywhere. Demon Figures and Fairies have undergone a series of transformations according to their historical context, but what remains constant is their supernatural power and their association with the very human concerns of marriage, death and loss. In what way have fairies changed in guise and purpose throughout history? How did ancient fairy lore sit with the Christianity of the Middle Ages? How were fairies appropriated for the purpose of the 16th century witchcraft trials and why did fairies obsess so many Victorian artists and writers? And why is it that stories about fairies exist all over the world and what is our fascination with them?With Juliette Wood, Associate Lecturer in the Department of Welsh at Cardiff University and Secretary of the Folklore Society; Diane Purkiss, Fellow and Tutor of English at Keble College, Oxford; Nicola Bown, Lecturer in Victorian Studies at Birkbeck, University of London.

Melvyn Bragg and guests discuss the Oxford Movement in the Church of England in the 19th century. Cardinal John Henry Newman is perhaps the most significant Christian theologian of the nineteenth century. He began as an evangelical, becoming a High Anglican before converting to Roman Catholicism in 1845. His is the story of the diversity of Victorian religious life. But his path also marks the waning of the ideas of Protestant nationhood at the close of the eighteenth century and the reaffirmation of the Catholic tradition at the turn of the twentieth century. For over a decade, between 1833 and 1845, Newman and his fellow travellers, the Oxford Movement, argued that the Church of England was a holy Catholic and Apostolic Church. They sought to assert the Catholic nature of their Church just as secularism, liberalism, non-conformism, and even Roman Catholicism, seemed to threaten her. They published tracts, preached and brought their social mission to some of the poorest urban parishes. Why between 1833 and 1845 was the voice of reaction such a loud one? What was the Oxford Movement and what motivated them? How did they present their ideas to the Anglican clergy at large and what did the clergy make of them? And why did they leave such a powerful legacy for the Church of England, its character and its churches? With Sheridan Gilley, Emeritus Reader in Theology at the University of Durham; Frances Knight, Senior Lecturer in Church History at the University of Wales, Lampeter; Simon Skinner, Fellow and Tutor in History at Balliol College, Oxford.

Melvyn Bragg and guests discuss ideas of heaven and the afterlife. The great medieval theologian Thomas Aquinas wrote 'that in the end language can only be related to what is experienced here, and given that the hereafter is not here, we can only infer'. Aquinas encapsulated a great human conundrum that has preoccupied writers and thinkers since ancient times: what might heaven be like. And although human language is constrained by experience, this has not stopped an outpouring of artistic, theological and literary representations of heaven. In the early Middle Ages men ascended up a ladder to heaven. In his Divine Comedy, Dante divided heaven into ten layers encompassing the planets and the stars. And the 17th century writer John Bunyan saw the journey of the soul to heaven as a spiritual struggle in his autobiography, The Pilgrim's Progress. But what exactly is heaven and where is it? How does the Protestant conception of the afterlife differ from the Catholic conception? How does one achieve salvation and what do the saved do when they get there? And, if heaven is so interesting, why has western culture been so spellbound by hell? With Valery Rees, Renaissance scholar and senior member of the Language Department at the School of Economic Science; Martin Palmer, Theologian and Director of the International Consultancy on Religion, Education and Culture; John Carey, Emeritus Professor of English Literature at Oxford University.

Melvyn Bragg and guests discuss the religious orders of the Dominicans and the Franciscans, known as the Blackfriars and Greyfriars. "Just as it is better to light up others than to shine alone, it is better to share the fruits of one's contemplation with others than to contemplate in solitude". Thus St Thomas Aquinas described his vocation, not only as a teacher, but also as a Dominican friar and philosopher at the University of Paris. In the 13th century, the religious orders of the Dominicans and the Franciscans were a great force for change in Catholic Europe. They thrived in the emerging towns and cities of the High Middle Ages, leading crusades and changing the way the Church dealt with heretics. They were the evangelists who transformed the Church's preaching of the Christian message to the people. On top of all this, these two orders were also responsible for reconciling Classical and Christian philosophy; their studies of Aristotle paved the way for the Renaissance. They also managed to change the curriculum at the universities of Paris and Oxford. But the Blackfriars and the Greyfriars did not come from the great monasteries of the time; they started out as itinerant preachers surviving upon the charity of the faithful. So how did these two orders come to dominate the spiritual and academic life of the 13th century, and how did they manage to accumulate such huge wealth while professing allegiance to lives of poverty? With Henrietta Leyser, medieval historian and Fellow of St Peter's College, Oxford; Alexander Murray, medieval historian and Emeritus Fellow of University College, Oxford; Anthony Kenny, philosopher and former Master of Balliol College, Oxford.

Melvyn Bragg and guests discuss paganism in the Renaissance. For hundreds of years in the Middle Ages, the only way to read Ovid was through the prism of a Christian moralising text. Ovid's sensual tales of metamorphosis and pagan gods were presented as veiled allegories, and the famous story of Zeus descending to Danae in a shower of gold was explained as the soul receiving divine illumination. But in 1478 Botticelli finished Primavera, the first major project on a mythological theme for a thousand years, and by 1554 Titian completed a very different version of Danae - commissioned by a Cardinal, no less - where she expectantly awaits her union with Zeus in what is a nakedly sexual pose. What happened to bring the myths and eroticism of antiquity back into the culture of Europe? And how was it possible for a Church that was prosecuting for heresy, to exalt in pagan imagery, even in the Vatican itself?With Tom Healy, Professor of Renaissance Studies, Birkbeck College, University of London; Charles Hope, Director of the Warburg Institute and Professor of the History of the Classical Tradition, University of London; Evelyn Welch, Professor of Renaissance Studies at Queen Mary, University of London.

Melvyn Bragg and guests discuss the story of Abelard and Heloise, a tale of literature and philosophy, theology and scandal, and above all love in the high Middle Ages. They were two of the greatest minds of their time and Abelard, a famous priest and teacher, wrote of how their affair began in his biography, Historia Calamitatum, “Her studies allowed us to withdraw in private, as love desired, and then with our books open before us, more words of love than of reading passed between us, and more kissing than teaching. My hands strayed oftener to her bosom than to the pages; love drew our eyes to look on each other more than reading kept them on our texts”. Years later, when she was an Abbess at the head of her own convent, Heloise wrote to Abelard: “Even during the celebration of Mass, when our prayers should be purer, lewd visions of those pleasures take such a hold upon my unhappy soul that my thoughts are on their wantonness instead of on prayers”. With Anthony Grayling, Professor of Philosophy at Birkbeck College, University of London; Henrietta Leyser, Medieval Historian and Fellow of St Peter’s College, Oxford; Michael Clanchy, Emeritus Professor of Medieval History at the Institute of Historical Research.

Melvyn Bragg and guests discuss the heavenly host of Angels. George Bernard Shaw made the observation that "in heaven an angel is nobody in particular", but there is nothing commonplace about this description of angels from the Bible's book of Ezekiel:"They had the likeness of a man. And every one had four faces, and every one had four wings. And their feet were straight feet; and the sole of their feet was like the sole of a calf's foot: and they sparkled like the colour of burnished brass.... As for the likeness of their faces, they four had the face of a man, and the face of a lion, on the right side: and they four had the face of an ox on the left side; they four also had the face of an eagle." With angels like that, it is easy to see why they have caused so much controversy over the centuries.What part have angels played in western religion? How did they get their halos and their wings? And what are they really: Gods or men?With Martin Palmer, theologian and Director of the International Consultancy on Religion, Education and Culture; Valery Rees, Renaissance Scholar at the School of Economic Science; John Haldane, Professor of Philosophy, University of St Andrews.