This is a marvellous book with a limited, but important, aim: to demonstrate the nature and extent of the dependence of Dionysios the Areopagite on contemporary Neoplatonism. Unlike many attempts to show how deeply Neoplatonic Dionysios was, this book does not try to make out that he was not a Christian, but a Neoplatonist instead; rather it accepts that he was a Christian writing for Christians, and sees him as someone who wanted to use Neoplatonic ideas to Christian ends. The authors emphasise that they come to Dionysios as experts in late antique philosophy, and that they are less familiar with the theological side of Dionysios. That may well be true, but it leads to very little misrepresentation. After a brief historical introduction, they discuss the doctrine of God as monad and triad, as found primarily in the Divine names. Next they discuss the notion of hierarchy (Dionysios's own coinage, as they acknowledge, though the notion is Neoplatonic) and the problem of evil, where Dionysios's dependence on Proclus is perhaps most direct. Scriptural interpretation and sacramental activity follow. Their discussion of Dionysios's exegesis of Scripture as onomastic theurgy is one of the most fascinating chapters of the book. In their treatment of the sacraments they note Dionysios's clear distinction between theourgia and hierourgia (though this has been noticed before, even by me, contrary to what the authors affirm: see the article of mine referred to at p. 435 at the top). The final chapter deals with the Mystical theology and union with God, in which they remark on the unusual way in which Dionysios thinks of ecstasy. The exposition throughout the book is concise and clear, with plentiful citation of the Dionysian and Neoplatonic sources, enabling the reader to see for him or herself the close affinity. Greater awareness of theological issues would have added nuance, but no more, to some of the discussion. For instance, the authors work with a rather old-fashioned idea of what the Monophysites believed (they did not think that Christ was divine instead of being human), and it also seems clear that some Neoplatonic influence might have reached Dionysios through earlier theologians, in particular the Cappadocians. The different nuance Dionysios gives to the imagery of sculpting the soul that derives ultimately from Plotinos's Ennead on the Beautiful (i.6) he has learned from Gregory of Nyssa, probably his immediate source. The dust cover is said to depict ‘St Dionysios of Alexandria’. It is not clear why (no further information is given); but depictions of St Dionysios the Areopagite are much commoner than his third-century namesake, and the Areopagite sometimes has prominent ears, too.