Many organisations have a ‘Friends of’ – sometimes because it’s one of the things that organisations do; sometimes it is an adjunct to the money-raising department (usually known these days, euphemistically, as the Development Department), but only rarely, I think, for the reason given on the tin: that there are people who want to express a kindredness of spirit which can most easily be captured in the word associated with friendship.
Jane and I feel that sentiment the other way around. We have been at this project for comingup fifteen years, and, through its phases, although we are surrounded by wonderful staff, and goodwill on all sides, there is sometimes the inevitable feeling of an isolated loneliness. That is a lacuna most easily filled by the cadre of friendship. We are much reassured by the small but growing numbers of Friends of The Auckland Project, and one of its key features is that – as in friendship – distance makes no difference.
We want to avoid what I see as a pitfall in many ‘Friends’ offerings, which are not aimed at friendship – they are
either a nuanced package of pricing onto which the label of ‘Friends’ is appended, or they covet the signing-up to Lifetime Membership – which only occasionally is an apt description of how individuals respond to The Auckland Project.
Let me end, with two observations, and one promise. The deal offered to ‘Friends’ is not intended to be compelling; there will probably be better ways of achieving cut-price attendance here than through this mechanism. While we welcome the expression of Lifetime Membership of the Friends, we covet it through a lifetime of annual renewals which speaks of people of goodwill continuing in a onceexpressed friendship. So: I end with the promise – that those who respond to us in friendship as Friends, we will honour, and reciprocate – the gates of Auckland are open and sunny to you, even when we are closed, and it’s raining.
Jonathan
Art
Bartolomé Esteban Murillo 1617-1682
The ‘Mater Dolorosa’, 16601670, oil on canvas Private Collection
This summer the Spanish Gallery offers a rare opportunity to see works by Velázquez, Zurbarán and Murillo, seldom otherwise available to the public. Across the Market Place, the Mining Art Gallery celebrates the 200th anniversary of the Stockton and Darlington Railway with an exploration of how the need for coal fuelled early railway development.
Two new loans are on display in the Spanish Gallery: Bartolomé Esteban Murillo’s The Good Shepherd in Gallery 3, and Francisco de Zurbarán’s The Surrender of Seville to King Ferdinand III in Gallery 1.
The Murillo loan forms part of a display highlighting the artist’s popularity and influence in Britain and includes an early version of The Virgin and Child; an image of the Virgin as the grieving Mother of Jesus (The Mater Dolorosa); and The Holy Face of Jesus (La Santa Faz), the image imprinted on the cloth Saint Veronica used to wipe the face of Christ. Included in the display is John Singer Sargent’s Study of a Crucifix, painted on his visit to Spain in 1878. Sargent was a leading promoter and imitator of Spanish art.
The painting of The Good Shepherd was on display in the Ashmolean Museum, Oxford, where it has hung for over forty years. It is a pair to Murillo’s Saint John the Baptist and
All Aboard...
the Lamb in The National Gallery, London, and references comparisons of Christ to a Good Shepherd given to us in Saint John’s Gospel 10:11-16.
The Zurbarán loan has not been on public display in this country since 1982. It will remain in the Gallery until spring 2026. The painting shows King Ferdinand III of Castile and León (later Saint Ferdinand) receiving the key to the city of Seville from its defeated Muslim leader, following the king’s successful reconquest in 1248. It was part of a major early commission for the artist from the Order of Our Lady of Mercy (‘the Mercedarians’) to celebrate the canonisation in 1628 of the order’s founder, Peter Nolasco. Nolasco accompanied the king on his triumphal entry into the city.
Also, on the Balcony we have a special tribute to Saint Thomas Aquinas, to mark his birth in 1225, eight hundred years ago this year. On display is a portrait of the saint by
Fuelling the Railway Revolution (June 27th – December 28th) explores the inextricable link between coal mining and the railways in the North East, as part of the celebrations of the Stockton & Darlington anniversary. Carefully selected maps, studies, landscape paintings, caricatures and prints bring together the changes to technology and engineering, to society and community and to the landscape of the North East. Special loans include a luminous Robert Heslop, painting, Mineral Train to Dean and Chapter Colliery, and a much-loved work by John Peace, Colliery Engines in the Snow.
Above: Diego Velázquez 1599-1660, Saint Anthony Abbot: a Study, oil on canvas, around 1634 Private Collection
Alonso Cano and a Jusepe de Ribera depicting Saint Francis of Assisi. Both saints represent the new mendicant Dominican and Franciscan orders which were founded in the early 13th century.
Our new exhibits join a rare Velázquez study of Saint Anthony Abbot, also from a private collection. The picture was included in an inventory of the artist’s possessions made on his death in 1660. Velázquez used the composition for his much larger painting Saint Anthony Abbot and Saint Paul the Hermit in the Desert now in the Prado Museum, Madrid. It originally hung in a chapel in the grounds of the Buen Retiro Palace, built by Philip IV in Madrid.
Interestingly, the painting features one of the hallmarks of Velázquez’s authorship— brush-cleaning marks that would originally have been covered up by the final layer of paint, but which have reappeared with time.
Heritage
You might have spotted excavations under way beside Auckland Palace this summer. Here John Castling, The Auckland Project’s Archaeology and Social History Curator, reports on work so far.
Every June since 2018 has been my busiest but most exciting month of the year. Not because of Glastonbury, Wimbledon or the Summer Solstice, but because of the equally memorable archaeological excavations at Auckland Palace. These are run by Durham University’s world-class archaeology department, and see almost 100 undergraduates arrive on TAP’s lawns with trowels in their hands and (for many of them) a thirst for discovering gold and glory in their hearts!
We think that this year, in our final season, we have surpassed 1000 diggers in the various trenches we’ve dug, made up of students and local volunteers.
The question we get asked most frequently by visitors to our sites is ‘have you found anything?’. The answer from eight seasons of digging is emphatically, yes! The second most asked is ‘what are you looking for?’, which can also be stated quite simply: we’re looking for the medieval castle.
The reason for this is that, compared to its importance, the medieval site was very poorly understood. The earliest images are from the late 1600s, and the documentary evidence that might tell us what was in the medieval period (between around 1066 and around 1500, depending on who you ask) are lacking in the kind of detail we need to understand the castle that was here.
Above: The 3m tall remains of the north garden wall, with black kitchen waste deposits behind it, uncovered in this June’s dig
Seven years later we can now reasonably confidently describe what the site looked like from around AD1200. We now know from the archaeology there was an amazing double-storey chapel, alongside a moat and bridge, huge curtain walls with several towers, a castle keep sized gatehouse, kitchens, a bakehouse and a brewery. We have also recovered some fantastic objects which show the high-status and the ordinary lives of the bishops and their households. My favourite is an ivory, gold and silver-handled Dutch-made knife which featured in an episode of Digging for Britain in January 2025 and was described by Professor Alice Roberts as ‘one of the most beautiful objects I’ve ever seen [which] speaks to the riches of those medieval bishops’.
This summer we’ve been investigating the North Terrace and the slope behind it. We know that much of the rubbish from the kitchens was thrown down this bank, although it wasn’t so much a bank as a series of terraces in the medieval period. A very substantial wall which we’ve been investigating half-way down the slope once bounded a garden which we suspect was easily accessed from the bishop’s private chambers at the west end of
New manuscript at the Faith Museum
An illuminated psalter is on display at the Faith Museum, on loan from Ushaw College. This is a richly illustrated manuscript for a church, containing the words, music and prayers used in the Mass and in rituals like baptism. It will be displayed open on the page covering the marriage ceremony. In the 1400s the marriage would have taken place in the church porch prior to Mass. Though the words to be spoken by the priest are in Latin, the wedding vows are in English, so the couple both understood what they were promising! There is a blog post here by Auckland Palace’s Curator, Charlotte Grobler, exploring what the psalter tells us about life and faith in the late Middle Ages.
the great hall (now St Peter’s Chapel). When it went out of use, probably in the 1500s, this garden was filled with waste from across the site – including some magnificent items that were mixed up with this refuse. As well as these beautiful objects, the everyday items tell us about what was being eaten and used in the palace.
On top of the North Terrace we have uncovered the curtain wall, as well as (possibly) a medieval toilet – just to counteract any suspicion that archaeology is all gold and glory!
For me the biggest success of our excavations is never just the archaeological finds though. It is the process of discovery and the valuable lessons about what it takes to explore the past – or any other area of knowledge, about forming friendships, about seeing ourselves and our own stories in light of the past beneath our feet. The most important discoveries are those that re-frame the stories that we enable Bishop Auckland to tell about itself. People who live here don’t have to say they are from a ‘post-industrial town’, but rather that they are from the town that grew from one of the most important and impressive, and now thanks to our archaeological work, one of the best understood bishop’s palaces in western Europe. That’s more worth digging for than any gold or glory.
Page from The Bobbingworth Psalter, with permission of the Trustees of Ushaw Historic House, Chapels & Gardens
Gardens
Pip Morrison is a landscape architect with a particular passion for designing gardens that feel ‘completely settled and inevitable’ in their environments. He is responsible for the redesign of the Sunken Garden at Kensington Palace, and for countless private gardens. For many years he has worked with The Auckland Project’s gardens team to reimagine the gardens and grounds of Auckland Palace. Here, he reflects on the final piece in the jigsaw, the Paradise Garden.
The wall-enclosed gardens that surround Auckland Palace provided an opportunity to create a series of gardens of contrasting character - each one different to the next – that would invite visitors on a journey of discovery. The Paradise Garden is the largest of the three walled enclosures to the north of
the Palace so I felt the design needed to make the most of that impressive scale as a contrast to the intimate spaces of the Kitchen Court and West Mural Tower Gardens that bookend it. Although enclosed by high walls the roofscapes of palace and town remain visible above and provide a dramatic backdrop.
Hive of activity
Visitors might have noticed hundreds of thousands of new workers busy in the Walled Garden, with the arrival of several colonies of honeybees. Thanks to a local apiarist Ashley Galley, Binchester Fort has been home to bee colonies for some years: just as it would have been when occupied by the Romans, for whom honey was of great practical and symbolic importance. With the Walled Garden complete, Ashley has helped the gardens team install three new hives and settle in their inhabitants. The bees will benefit from the abundant flora in the garden, and in turn will improve pollination, biodiversity and yield.
Paradise Gardens, always with a central cross of water and beautiful planting, have an ancient origin and the description of the Garden of Eden having four rivers flowing out of it appears in the Bible, Torah and Koran. The original idea for the cross of water at Auckland Palace was that it would be flush with ground level in what appeared at first glance to be a flat garden. However, closer study revealed that there was an 80cm fall in the land level from west to east. Rather than try to level the garden with walls or banks which might have sat uncomfortably with the historic surrounding walls, the decision was made to raise the water with solid blocks of local Cop Crag stone with the water falling out over weirs at each end.
It was always felt important that the gardens should change throughout the year but also from year to year to create as much interest for returning visitors as possible. This year the four large planting plots have been sown with barley - an ancient crop that will be harvested by hand at the end of the summer. Next year a completely different annual crop is planned. Surrounding this under the old brick walls are more traditional flower borders with an enveloping mixture of fruit, flowers, roses and scented climbers.
Pip Morrison, June 2025
All of The Auckland Project’s gardens are now open: the Walled Garden, the Faith Garden, the Wilderness Garden and the Paradise Garden. Guided tours are available every Wednesday and Saturday.
Town Town
Lomotion No. 1 on the Weardale Railway; image courtesy of David Tillotson
The impact of Bishop Auckland’s regenerative funding from the government’s Towns Fund scheme is starting to make a real difference. On account of the scale of investment via
The Auckland Project, Bishop Auckland was able to secure a larger £53m agreement from central government, supporting all sorts of change locally.
The Auckland Project’s plans for a 60-room hotel on the Market Place have been submitted following a public consultation. The new hotel will replace derelict buildings and support the development of the town as a natural place for short breaks and holidays. This is being funded in part through Stronger Towns funding and in part through our own resource, and the project will create 95 jobs.
The redevelopment of Kingsway Square to create parking and improved public realm is complete. The car parking is well used, planting blooming
and the play equipment and tubular bells popular with children (and adults!). Durham County Council projects include a new bus station and public realm improvements on Fore Bondgate, the historic shopping street: you might have spotted some facelifted shops and even one or two new businesses. Durham County Council have funded some vital track and infrastructure work to the Weardale Railway, and Stronger Towns funding has also helped us create a new £1m parking scheme at Bishop Auckland Railway Station.
People can now catch the heritage train up the Weardale valley, connecting from mainline services at Bishop Auckland. Trains run twice or three times weekly during the summer with afternoon tea trains on Fridays too, offering the opportunity to explore the unspoilt and historic Durham Dales.
To ensure the Weardale Railway is to look its best for the summer, 50 volunteers cleared 200 bags of rubbish from the tracks. Participating groups included Lanchester Boys’ Brigade, Weardale Railway staff and Frosterly Angling Club, and lots of others who love the area. With the Stockton and Darlington Railway Bicentenary Festival this year, and the appearance of Locomotion No. 1 on the railway for a test run, it is encouraging to see the great affection for the railway locally and farther afield.
Above: The Auckland Project’s proposal for a hotel on the marketplace.
Meet the Team
Simon Wright is our new Director of Food and Beverage at The Auckland Project. He’s responsible for the Bishop’s Kitchen at Auckland Palace, El Castillo beside the Spanish Gallery, for the Park Head Hotel and for everything from canapés to food trucks for events.
What brought you to The Auckland Project?
A genuine interest in its mission to celebrate heritage, culture, and community. I was drawn to the opportunity to be part of something that not only preserves local history but also actively contributes to regeneration and education. With my passion for travel and
cultural experiences—especially from my time working around the world—I’ve developed a strong appreciation for projects that connect people through storytelling and shared experiences. The Auckland Project’s vision aligns closely with my personal values and professional aspirations, making it a natural and exciting next step for me.
Above: Simon Wright showing a selection of food available at the Bishop’s Kitchen
Where did your interest in food come from?
My interest in food stems from my deep love for travel and the enriching experiences I’ve had while working around world. Exploring different cultures has allowed me to appreciate the diversity and creativity in global cuisines. Living and working in the States exposed me to a wide range of culinary traditions, from regional American dishes to international flavours, which sparked a genuine curiosity and passion for food. These experiences have not only broadened my palate but also deepened my understanding of how food connects people and tells a story about place and culture.
What inspires you, professionally and personally?
Professionally, I’m inspired by the opportunity to grow, collaborate, and contribute meaningfully—whether that’s through delivering exceptional service, learning from diverse teams, or embracing new challenges. Personally, my family is a constant source of motivation. Their support, values, and work ethic have shaped who I am and continue to drive me to be the best version of myself. I’m also deeply inspired by travel and cultural exploration. My experiences, especially while working in the US, have broadened my perspective and deepened my appreciation for creativity, resilience, and human connection. Together, these influences fuel both my personal and professional ambitions.
Where are you most often found at work?
At work, I’m most often found where I can be hands-on and engaged—whether that’s on the floor supporting the team, interacting with customers, or behind the scenes ensuring everything runs smoothly. I naturally gravitate toward areas where I can contribute actively, solve problems, and help create a positive and efficient environment. I believe being present and approachable is key to strong teamwork and great service.
Where can you be found on a day off?
On my days off, you’ll most likely find me enjoying quality time with my children. I love watching my 7-year-old son play football— he’s already much better than I ever was, and it’s a joy to see his passion and energy on the pitch. When I’m not cheering him on, I’m usually at home playing with my 3-year-old daughter and her dolls. Those moments, whether on the sidelines or in a makebelieve tea party, are what I cherish most. They keep me grounded, inspired, and remind me of the importance of balance and connection.
If you could have someone else’s role here, and the skills to do it, what would it be?
I’d honestly still choose to be right where I am. Food and beverage is my passion, and I feel fortunate to be in a position where I can bring that passion to life every day. I love the creativity, the pace, and the opportunity to create memorable experiences for guests. While I admire the work others do across the organisation, I truly believe I’m in the perfect role for me.
What’s are you looking forward to this summer?
This summer, I’m really looking forward to spending quality time with my family—making the most of the longer days with my children and creating lasting memories together. At the same time, I’m excited about the opportunity to continue delivering and elevating the quality of our food and beverage offerings. I’m passionate about creating exceptional experiences for guests, and summer is the perfect season to bring fresh ideas, seasonal ingredients, and a renewed energy to everything we serve.
