In Studies in Theological Styles: Clerical Styles (1962), Hans Urs von Balthasar presents volume II.1 of The Glory of the Lord: A Theological Aesthetics (the first part of his Trilogy). The task he sets himself is to illustrate the pertinence of approaching the intelligibility of divine revelation in terms of the analogy between created beauty and divine glory. To that end, he offers studies of twelve pre-modern theologians, from Irenaeus to Bonaventure, who in different, but complementary ways gave this analogy a central place both in the method and in the content of their theology. To be sure, “the selection of the twelve representatives of Christian thought discussed in this volume has something arbitrary about it: together they form but a constellation. . . . The reader will find that the unplatonic Irenaeus shines out especially brightly, that Dionysius appears indispensable to us because of his view of the Church as transparent to the sacred cosmos, [and] that Anselm’s prayerful thinking . . . shines forth as a pure model” (Hans Urs von Balthasar, My Work: In Retrospect, 1965).