I was stood by the door waiting for someone else to arrive when a refugee banged on it. I was annoyed. It wasn’t opening time yet and it’s always awkward explaining that across a language barrier. I took my time coming to the door and fiddled with the key, hoping my body language would set the tone for a short conversation.

“We’re not open yet”, I said as I cracked the door open and felt the chill of the early December cold snap.

The Iranian man looked me earnestly in the eyes, thrust a heavily laden shopping bag into my hands and said in a heavy accent:

“I’m sorry, I can’t come today”.

He flashed me a grin that showed his missing teeth, leaned over to hug me, turned his bike around and rode off up the hill.

I’d known Ebrahim (not his real name) for a few weeks – maybe a month – since another refugee had introduced me to him. I’d heard rumours of his generosity, but this was my first experience of it.

I shut the door to the church against the cold, and as I locked it my mind wandered back to an interaction with John Barclay – a professor at Durham University. I was a PhD student at the University of Nottingham at the time, and he was a world-leading theologian who had been invited to give the Firth Lectures. It was as close as you come in academia to meeting a rock star.

He came to mind as I closed the door because in those lectures, he argued that one of the key reasons the first Christian communities grew was because they practiced risky generosity.

The first followers of Jesus were likely poor enough that they relied on each other to get by: you can borrow my coat today because I’m going to need your saucepan tomorrow. That was not unusual in the ancient world and lots of communities were generous in that way.

What made Christians unique was that they were much more willing to risk including outsiders – they were willing to give to people who they didn’t know well enough to be able to rely on them giving back.

I retreated from the door wondering what had just happened and whether Ebrahim would get a decent meal today if he couldn’t come to our drop in. But mostly, I wondered why he was being so generous and I was so stingy. I mean, one of us is rich by almost any metric – and it’s not Ebrahim.

As I turned round, I saw Sami (not his real name) across the room. He’s been around longer than Ebrahim and has actually been helping us by translating sermons into Farsi for other Iranian refugees. He was already inside because he was helping us today.

They show up with gratitude, and give generously of the very little they have. They practice this risky generosity with no guarantee of return.

I know a bit of Sami’s story – how he has arrived in the UK seeking asylum because his family found out about his faith and suddenly he was no longer safe in his own home. I’ve seen the scars he got from living through that story. And yet, when Sami manages to find a way to work under the radar to supplement the pittance he’s living on and make his days more meaningful, he is as generous with what he earns as he is with his time.

There’s something striking about the risky generosity I see in Ebrahim and Sami. I can’t imagine living through what they’ve endured, but they show up with gratitude, and give generously of the very little they have. They practice this risky generosity with no guarantee of return – not least because the church is so mindful of being taken in by a sob story that we make big demands before we’ll baptise or send letters of support for anyone. It challenges me. Despite the fact that I’m the rich one, my asylum seeker friends seem closer to the attitude of the first Christians than I am.

It particularly challenges me when I then read stories about small boats, Home Secretaries and Rwanda. Because somehow people like Ebrahim and Sami seem to go missing in all the debate.

I’m not in a position to solve immigration, and I’m not for a second pretending it’s not complicated. But I thought about Ebrahim, Sami and John Barclay again when my children’s CofE primary school told me what they were teaching my boys about British values and Christian values. It’s probably no surprise that there was no mention of this kind of risky generosity that was in fact a hallmark of the first Christian communities and that I think I’ve seen in these brothers from another nation. I think that’s a shame.

There’s no doubt that the Bible talks clearly about God providing for his people –wealth is not bad, and Jesus’ call to give it all away came to one particular person rather than to every follower. But God’s own generosity runs like a thread throughout the story told in Scripture.

Maybe that’s why Paul writes that ‘God loves a cheerful giver' . The original Greek word translated ‘cheerful’ there is hilaron and we get the word ‘hilarious’ from that root. It might not be funny, but within the conversation we tend to have about wealth it is surely laughable for Ebrahim to give away a bag full of goodies when he has nothing? It’s risky, certainly: better to hold onto the money as you might need it next month if the Home Office moves you without warning again. And yet, he gives.

And because he gives, he challenges me. If John Barclay is right – and I think he is – Christians have always been the kind of people who take risks to welcome others into their community. That makes no sense if you’re trying to keep your own food and energy bills down in the face of inflation. It’s laughable, in fact. But apparently, that’s the kind of giver God likes – a hilarious one!

I think he likes that kind of giver because when he looks at them he sees the image of his own generosity. After all, according to Genesis, that’s the image humans were made to carry. Seeing Ebrahim and Sami giving reminds me that for all the complexity of the immigration debate these are human beings. Their risky generosity challenges me to live up to the actual values of the first Christian community.

The bold museum reflecting a “moonlight” experience of the unseeable

Robert Wright visits the UK's only Faith Museum, in Bishop Auckland, and hears how its funder hopes to inspire reflection on the divine.

Robert Wright

Robert is a journalist at the Financial Times.

A art installaton showing purple and pink flame-like shapes moving in a darkened room

The Eidolon art installation.

It takes a moment to grow accustomed to walking in the dark of the long, steeply roofed room that houses Mat Collishaw’s art installation Eidolon. But the artwork’s impact is immediate. Two huge, moving images in the middle of the room show a blue iris flower. It is being engulfed by flames but not consumed. Speakers play, in Latin, a story from the Hebrew bible’s Book of Daniel in which three young Jewish men survive being thrown into a fiery furnace for refusing to worship the Babylonian king. The artwork is a rare successful attempt to capture in modern art the essence of Christ’s crucifixion and the Christian tradition of martyrdom, with its roots in earlier Jewish beliefs.

Watch Eidolon

Eidolon is one of the highlights of the UK’s first Faith Museum, a bold project opened on October 7 in Bishop Auckland castle, the historic residence of the Bishops of Durham. The museum forms part of The Auckland Project, a series of initiatives in Bishop Auckland, north-west of Darlington, being funded by Jonathan Ruffer, a Christian and successful City investor. Ruffer’s childhood home was outside nearby Middlesbrough. The new institution aims to tell the story of 6,000 years of faith in Great Britain, starting with the Gainford cup and ring stone. The stone, found 90 years ago 10 miles from Bishop Auckland, may date from as early as 4,000BCE. It features carvings regarded as the earliest evidence of religious practice in Great Britain.

Jonathan Ruffer.

A man stands in a formal dining room that has traditional paintings on the walls

Jonathan Ruffer, in Bishop Auckland Castle.

Ruffer, however, declines to link the museum’s contents to his own faith or an explicitly Christian message. He insists that he is merely seeking to advance discussion of faith in a society where it is little debated but remains a potent force. In the living room of Castle Lodge, his home in the castle grounds, Ruffer compares the contemporary taboo about religion with the very different mores of the 19th century.

“Nobody talked about sex in Victorian times,” he says. “It’s impossible to imagine that because the public world was silent on it, it was not as much a guiding force as it is today. I think that’s where faith is now.”

He adds that the 10-year process of establishing the museum has made it “absolutely apparent” to him why there are no other similar institutions.

“What is a museum for?” he asks. “It’s to gawp at things and if you think what is the subject matter of a faith museum, it’s God. In whatever form and shape that you believe that God to be, you cannot see that topic.”

The museum is nevertheless rich in sometimes poignant objects that the curators call “witnesses” of faith. They include the Binchester Ring, a ring with Christian symbols dating from the third century of the Christian era. The ring, found only a mile from the museum, is regarded as the earliest known evidence for Christian practice in Britain. There is a small slate, engraved on one side, that served as an altar for Recusant Roman Catholics while their Church was out in the cold and had to stay hidden during the Reformation years. The slate could be turned over and disguised as a normal roof slate when not in use. The museum has on loan the Bodleian Bowl – a rare example of a ceremonial vessel used by one of England’s Jewish communities before King Edward I expelled the group in 1290.

Ruffer says the impact of the objects – many on loan from other museums - comes from their histories.

“There’s a great power in the objects that we have,” he says.

Eileen Harrop.

A priest stands in front of lead glass windows and carved seats.

Eileen Harrop, entrepreneur priest and museum advisor.

Among the advisers on the museum’s establishment was Eileen Harrop, a Church of England priest originally from Singapore and of Chinese origin. She was appointed an “entrepreneur priest” in 2016 to work with Ruffer on The Auckland Project. Meeting in the castle’s former library, she says the museum avoids suggesting all faiths are the same, while also steering clear of Christian proselytising. Harrop, now the vicar of four parishes around Bishop Auckland, expects the museum to have a powerful effect on visitors.

“It allows for people to experience the God who led Jonathan here,” she says. “It allows for people to enter into all the different ways in which people can identify something about faith and then it’s up to God.”

A visit’s emotional impact comes largely from the new institution’s first floor, devoted to works created by contemporary artists exploring faith. Some of the most powerful exhibits are black-and-white pictures in which Khadija Saye, a young British-Gambian artist, explores possible uses for religious objects belonging to members of her family, some Muslim and some Christian. Saye lost her life in the 2017 Grenfell Tower fire.

A series of works by Christian painter Roger Wagner has proved particularly timely. The museum opened the same day that Hamas terrorists started the current Israel-Gaza war with their attack inside Israel. The paintings translate stories from the Christian New Testament to the contemporary, riot-scarred occupied West Bank.

Eidolon is among the works on the first floor. Harrop calls it an “amazing installation”, particularly for its retelling of the story of Daniel.

“It relates a story… of what was going on in that particular experience of the faithful person called and protected with his companions in relation with God and the power of faith,” she says.

Ruffer, meanwhile, shies away from expressing spiritual aspirations.

Asked how he hopes people will respond to the museum, he says: “I couldn’t care less – that’s up to them. I have many faults but a sense of wanting to tell people or persuade people how they should be is very low down the list.”

Yet Ruffer is clear that he received a clear, divine call to come to Bishop Auckland. He was first drawn to the area by his enthusiasm for Spanish art and his determination to prevent the Church of England’s Church Commissioners, then owners of the castle, from selling its prize artworks – life-size, 17th century portraits by Francisco de Zurbarán known as Jacob and his 12 Sons. The paintings, saved for Bishop Auckland in 2011 by a multi-million-pound donation by Ruffer, remain in the castle. But the Zurbarán link inspired Ruffer to establish a Spanish Gallery, dedicated to art from Spain, on Bishop Auckland’s Market Place.

“I came here really through a calling,” Ruffer says. “I felt the need really to drop everything and come up to somewhere in the north-east, to be part of a community.”

Ruffer’s engagement with the town deepened when the Church Commissioners announced, also in 2011, that they planned to sell the castle. Auckland Castle was formerly a seat of both ecclesiastical and secular power when the Bishops of Durham were prince-bishops – uniquely in England, both secular governors and bishops. The bishops lost the last of their secular powers in 1836. Ruffer bought the castle and transferred ownership to a newly established Auckland Castle Trust, which became The Auckland Project.

“I’ve heard from people who have through it who have said they can’t really put their finger on what it is, but they must go back again,”

Ruffer accepts there are issues with trying to capture the imagination of Bishop Auckland’s 25,000 inhabitants from inside a castle whose imposing entranceway symbolises its symbolic role as a seat of sometimes oppressive power.

“That sense of power is felt as a reality by people,” he says. “But it’s empty. Power has long since moved away from the prince-bishops and then the bishops.”

The castle’s unique history nevertheless makes it the ideal setting for the museum, according to Ruffer. Exhibits are housed both in a wing of the historic castle and a new, purpose-built extension. Ruffer says the castle was a far better place to site a faith museum aimed at raising questions than somewhere more explicitly linked to a specific faith such as a cathedral close.

“Auckland Castle has been intricately involved with faith for nearly 1,000 years and yet it hasn’t been a place of worship,” he says. “It has a chapel but it’s ecclesiastical without being a cathedral, church or minster. So it seemed to me that that made it very appropriate for a faith museum.”

The early signs, according to both Ruffer and Harrop, are that the new institution is encouraging reflection among visitors. Ruffer says the museum has responded to the “elemental need” for faith. He adds that the positive reaction so far vindicates the initiative to establish the museum, which he says has brought together objects and described them “without any directional guidance as to which works”.

Harrop reports that visitors seem to feel the need to experience the museum a second time after a first visit.

“I’ve heard from people who have through it who have said they can’t really put their finger on what it is, but they must go back again,” she says.

Ruffer identifies the museum’s power by saying that it gives people an easier experience of the divine than would otherwise be available to them. He compares the experience of encountering God through the museum to looking at the light of the sun as reflected in soft moonlight. That, he points out, is far easier than looking painfully and directly at the sun.

“The thing that changes people is to be confronted with something bigger than yourself,” he says.