 However, perhaps a better way of defending Barth is suggested by Hans Urs von Balthasar. He shares Barth’s general view of revelation as epistemically self-authenticating and as providing its own warrant, independently of human preconceptions (Chapp 2004: 11). However, Balthasar attempts to make this view intelligible by suggesting an analogy with aesthetic experience. In Mozart’s Jupiter Symphony, for example, every note seems to be necessary in the sense that any change would make the symphony less beautiful. However, nobody (except Mozart himself) could have said in advance that precisely this combination of notes is necessary in order to produce such beauty. Hence, our recognition of the beauty or perfection of the symphony happens without reference to any criteria or rules that we could have stated independently of encountering the symphony itself. In a similar way, revelation possesses its own intrinsic credibility, rooted in the self-authenticating glory of God. “Divine love”, writes Balthasar, 