One of Catherine of Siena's principal teachings is self‐knowledge, i.e., knowledge of oneself and knowledge of God. Catherine adapted the Christian spiritual tradition on the subject and presented it anew using a number of ingenious images such as a well, a cell within a cell, a peaceful sea, a mirror. So important was self‐knowledge in her life and teaching that she came to regard it as virtually prayer itself.

This essay argues that for Henri de Lubac, a sacramental ontology provides the link between a Eucharistically based ecclesiology and the issue of the relationship between nature and the supernatural. For de Lubac it is the sacramental order of reality that draws humanity to a deeper participation in the divine life. Maurice Blondel's substitution of Tradition for the dilemma between extrinsicism and historicism shapes de Lubac's sacramental ontology. The latter's concern for the social character of the Church and his opposition to an individualist ecclesiology are key to his understanding of the relationship between the supernatural and the Eucharistic character of the Church. Arguing that Eucharist and Church are mutually constituting, de Lubac wants to counter both extrinsicist and historicist approaches to the Church. For de Lubac, the Eucharist provides an avenue for the mutual interpenetration of nature and the supernatural, thereby overcoming the dualism between extrinsicism and historicism. It is through the sacramental means of Christ, the Church, and the Eucharist, that God is present in the world. This presence means for de Lubac neither an acceptance of the State on its own terms nor an exaggerated spiritualist critique of Constantinianism.

While Richard Dawkins' polemic against religion scores easy points against Christian fundamentalisms, he supposes his target to be much vaster: “I am not attacking any particular version of God or gods. I am attacking God, all gods”. Given The God Delusion's lack of extended argument, historical ignorance and unfamiliarity with the literature, the praise it has received from some distinguished scientists is troubling.

This essay seeks, first, to examine some of the book's chief weaknesses – its ignorance of the grammar of “God” and of “belief in God”; the crudeness of its account of how texts are best read; its lack of interest in ethics – and, second, to address the question of what it is about the climate of the times that enables so ill‐informed and badly argued a tirade to be widely welcomed by many apparently well‐educated people.

The latter issue is addressed, first, by considering the illusion, unique to the English‐speaking world, that there is some single set of procedures which uniquely qualify as “scientific” and give privileged access to truth; second, by examining historical shifts in the senses of “religion”; thirdly, by locating Dawkins' presuppositions concerning both “science” and “religion”, his paradoxical belief in progress, and the reception which the book has received, in relation to tensions in our culture signalled, fifty years ago, by C. P. Snow.

This article offers an ecclesiological assessment of Pope Benedict's first encyclical, Deus Caritas Est. It draws parallels with an earlier papal encyclical, also, on charity and suggests that the attention in the latter to the exercise of charity within the Catholic church is a much needed supplement to Benedict's attention to what the church might teach the ‘world’ad extra about charity. Indeed, the article suggests that the Catholic church must strive all the more to be truly a sacrament (both a sign and mediation) of that love that constitutes the very threefold being of God, both ad intra and ad extra. But, first and foremost, the church must learn to exercise such love within its own confines before it can hope to teach those in the wider human family anything about charity. The promise of applied trinitarian ecclesiology in serving such ends is highlighted.

Mozart's operatic masterpiece Don Giovanni raises pivotal questions about freedom and society: should freedom be without constraints? Is absolute freedom possible? In certain key ways these concerns of Mozart's culture resonate with issues that preoccupy us today. Composed in 1787, during the final years of the liberal regime introduced by the Habsburg emperor Joseph II, the opera reflects the shadow side of his “enlightened” reforms. The serial seducer Don Giovanni represents a liberty that has degenerated into libertinism. The freedom that Don Giovanni wants to retain at all costs is merely freedom as the absence of physical constraint. In the contemporary world many people aspire to a similarly riven freedom: they reject the dictates of external authority, and docilely submit to the promptings of instinctual drives. Christianity invites human beings to reach beyond themselves in love. Marriage exemplifies the self-giving of permanent commitment, and contrasts starkly with Don Giovanni's egoistic consumption and hasty disposal of women. Although the lyrics and plot of Mozart's opera never evoke the Trinity, the musical perfection of his work dances on the threshold of Revelation, and opens its hearers up to the liberating mystery of the freedom of Trinitarian love.