Petworth House in West Sussex is one of the great Baroque treasure houses of England, and Dr Bendor Grosvenor finds two paintings which he feels warrant investigation: a portrait of a lady from Genoa which was once attributed to Rubens, but Bendor is convinced is by Anthony van Dyck, and a portrait of a young cardinal in the style of Titian, which Bendor believes may be by Titian himself. The restoration of the possible Titian starts to reveal a painting of two halves - the face and upper parts are the work of a very fine painter indeed, but the lower section with a badly painted hand is found to be a later repair with some very crude stitching adding an extra section of canvas to the bottom of the picture. While work continues, Bendor travels to Italy to look at some Titian masterpieces to support our understanding of his genius. In Titian's home city of Venice, he explains how the peculiar damp climate of the city led to canvas becoming the preferred medium for Venetian painters. He tells us how colour became the defining characteristic of the city's art and how Anthony van Dyck was so struck by Titian's paintings that he spent years in Italy following in his footsteps to study his techniques. Bendor's final visit is to the city of Genoa, where the Petworth portrait of a lady was painted. He shows us some works by van Dyck made in the city in support of his attribution of the picture to the Flemish master. Emma Dabiri explores the story of the third Earl of Egremont, who inherited Petworth in 1763 when he was 12. He had 15 mistresses, who all lived in the house, and he eventually had 43 children - all illegitimate. He died leaving no heir. He had a colourful life and was a friend and patron of JMW Turner. His Petworth Emigration Scheme allowed him to support the journeys of his tenants to start a new life in Canada - though, Emma discovers, it was quite advantageous for the earl to reduce his expanding workforce. Emma also tells the story of the a