In Studies in Theological Styles: Lay Styles (1962), Hans Urs von Balthasar presents II.2 of his The Glory of the Lord: A Theological Aesthetics (which is the first part of his Trilogy). Continuing the investigation begun in the previous volume on Clerical Styles, Balthasar explores the centrality of divine glory for Christian thought in the post-medieval period. Here, too, he “provides the evidence for the fact that truly epochal theology is illuminated by the glory of God, is touched in its depths by it and in a mysterious fashion takes something from it and gives it out again.” Since, however, “in the neo-scholasticism of the clerical figures after Thomas (who receives his due in volume III.1 [of The Glory of the Lord], there is no longer such a direct radiance; hence laymen and religious come to the fore: Dante, John of the Cross, Pascal, Hamann and Soloviev (the watchmen at the dawn and dusk of German Idealism), Hopkins (who represents the mystical tradition of England and Ignatius himself) and Péguy (the representative of the contemporary Church in dialogue with the world)” (Hans Urs von Balthasar, My Work: In Retrospect, 1965).