This episode immerses us in the turbulent era that followed the Roman occupation of Britain. Once known as the ‘dark' ages, in reality it's a time of glittering art and extraordinary cultural fusions.

This alternative history of the British Isles, told through art, brings together encounters between contemporary artists and ancient art, and interviews with experts and curators, to trace how Celtic, Anglo-Saxon and Norse peoples fought for supremacy, leaving behind mysterious fragments of art that still haunt our landscapes and imagination.

Sculptor Antony Gormley meets Spong Man, a unique clay figure that once sat on a 5th-century funerary urn, a mysterious glimpse into the mindset of early Anglo-Saxon settlers. Meanwhile, actor Michael Sheen performs the 7th-century Welsh poem of resistance against the Anglo-Saxons, Y Gododdin, and Scottish artists Dalziel & Scullion wonder at the monumental Aberlemno Stones (c.500-800 AD), believed to mark the hard-fought boundary line of the Pictish kingdom.

Like the stones, the gold artefacts of the Staffordshire Hoard fuse pagan and Christian imagery, and at Stoke's Potteries Museum artist Cornelia Parker investigates why they were found so broken and twisted. Spreading alongside such Christian symbols was a powerful new language, English, used to gloss over the Latin in the elaborate Lindisfarne Gospels explored by the Rev Richard Coles. Maria Dahvana Headley analyses how English was used in the epic poem Beowulf, and tells us how she has updated the work with a hip-hop feminist translation.

The Anglo-Saxon Mappa Mundi reveals a new sense of the Isles' place in the wider world, and is examined by map artist David McCandless and British Library curator Claire Breay. Graphic novelist Woodrow Phoenix explores how the Anglo-Saxon age came to a dramatic end in 1066 by taking a fresh look at the embroidered propaganda of the Norman Conquest in the Bayeux Tapestry.

In the 16th century, the British Isles experienced a religious revolution, as the kingdoms of England and then Scotland turned Protestant. Artists and experts today reveal how, during the reign of Elizabeth I, Protestants and Catholics used art, language and new technology to wage a battle for power in the Isles, creating surprising and often radical works. 

Author Stephanie Merritt reassesses John Foxe's grisly Book of Martyrs as a work of history and nationalist propaganda, with passages performed by actress Morfydd Clark, and we meet the indefatigable William Morgan, who undertook the ten-year task of translating and publishing the Bible in Welsh in 1588. 

We discover how England's emblem was the queen herself, with textiles artist James Merry exploring the mysterious Bacton Altar Cloth, now believed to be a fragment of one of Elizabeth's power dresses seen in one of her many portraits. Elizabeth's court swirls with religious intrigue, and the Ora Singers perform the daring, subversive Mass for Four Voices, a Catholic work created by William Byrd, a composer of the Royal Chapel and favourite of Elizabeth. 

The Queen also had a dangerous rival in Mary Queen of Scots. Jewellery designer Shaun Leane examines how Mary promoted her brand through jewels and fine Scottish gold work, while artist Alice Kettle assesses Mary's embroideries and the coded messages in them that would contribute to her downfall. As Elizabeth expands exploration and empire in the 1590s, theatre, an explosive entertainment for the people, fed off the stories of distant lands coming back to the Isles. Artist Phoebe Boswell analyses Shakespeare's attitude to race in his play Othello, supported by performances from actor Martins Imhangbe.