In his pivotal essay "Even the Beautiful Must Die," Eberhard Jüngel takes Friedrich Schiller's famous line as a theological provocation: if even the most radiant forms of beauty are subject to death, then beauty cannot be identified with the presence of God. Rather, God has a unique mode of presence, which interrupts any analogous relationship to the beauty of the world. That mode is glory. Its light is the death of beauty. Modern religious and aesthetic sensibilities often assume that beauty mediates transcendence—that what moves or enchants us must be, in some sense, divine. Jüngel reverses this logic. Beauty belongs to the world: it is an aesthetic form of meaning that allows "humans to be human without God." Beauty offers orientation, hope, and coherence within a fragile reality. Yet, precisely as such, it itself is fragile, and suspect to death. God's glory, by contrast, is not a higher or purer beauty. It is the event of God's self-giving love made present in the crucified and risen Christ. Glory does not arise from the world; it comes to the world, interrupting its closed horizons of meaning, and producing the death of beauty. In this sense, glory marks the radical difference between God and the world: God is not the deepest layer of worldly experience but the One who comes to the world from beyond it. The paper shows how this aesthetic distinction allows theology to affirm the genuine power of secular beauty—art, culture, and human creativity—without collapsing them into religion. Beauty can mediate meaning and even hope, but only glory overcomes death. Jüngel thus offers a way to discern divine presence not in what most immediately captivates us, but in the disruptive, life-giving event that exposes the limits of all worldly splendor.