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Although Kristeller is undoubtedly correct in asserting the pseudo-epigraphic nature of these texts, this essay starts with a consideration of alchemy-related material in Ficino’s authentic works, including De vita libri tres, Appendix commentariorum in Timaeum Platonis, and Consilio contro la pestilentia, and suggests themes that might have encouraged later writers to include him among the corpus of alchemical authorities. In the two most famous published collections of alchemical works, Jean Jacques Manget’s Bibliotheca Chemica Curiosa (1702) and Lazarus Zetzner’s Theatrum Chemicum (1659-61), Ficino, translator of the Corpus Hermeticum, is assimilated into the ranks of the Hermetic philosophers, appearing at the head of a list of Italian alchemists and as the author of both a Liber de Arte Chemica and de Aurei Velleris mysterio. It concludes with a discussion of the somewhat surprising approval of Dee’s enigmatic work from one who was utterly antagonistic to Paracelsian and Rosicrucian philosophy, the chemist Andreas Libavius, who openly admitted to using the hieroglyphic monad as the basis for the ground plan for his ideal laboratory. The article also notes how the Monas Hieroglyphica appealed to purveyors of both physical and more theosophical forms of alchemy, such as the Rosicrucian Chemical Wedding of Christian Rosencreutz. It shows how Dee’s work was read by alchemists influenced by Trithemius’s exposition of the Emerald Tablet, including major promulgators of Paracelsian thought such as Gerard Dorn, Oswald Croll, Joseph Duchesne, and Heinrich Khunrath. This article considers Dee’s reputation as an alchemist, in particular the reception of his Monas Hieroglyphica, in Latin, French, and German texts published in the late sixteenth and seventeenth centuries, and examines two themes: first, discussion of the Monas Hieroglyphica in the context of cabbalistic calculations and Pythagorean symbolic numbers and second, references to, and appropriations of, the hieroglyphic monad in the context of chemical notation. Brian Vickers once described John Dee’s Monas Hieroglyphica as “possibly the most obscure work ever written by an Englishman,” asking whether there were even ten references to it in the seventeenth century.
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