  How to paint this portrait as fully as possible was the key question. Ficino considered the Platonic corpus a treasury of wisdom, filled with different subject matters but always, when rightly interpreted, leading one to the divine. In the same preface, he writes of Plato that “whatever subject he deals with, he quickly brings it round, in a spirit of utmost piety, to the contemplation and worship of God.” Ficino conceived his own Platonic Theology as a similar sort of treasury, and as a Christian corrective to a work he greatly admired, Proclus’s own Platonic Theology, a work that, precisely because of its threefold status, seems emblematic: first, Proclus’s work was for the most part “new” for the fifteenth-century West, one of the many interesting texts uncovered by that century’s tireless search for matters ancient; second, Proclus was a decided anti-Christian; third and no less powerfully, Proclus’s style of philosophizing, like much pagan later Platonism largely unknown to Ficino’s medieval predecessors, shared deep family resemblances with Christianity. Among these aspects one can include: the efficacy of theurgic rituals, which had their Christian analogy in sacraments (see Celenza 2001); and a “monotheism” that respected the necessity of having one supreme being (for later Platonists, “the One,” for Christians, “God”) but that permitted its practitioners to access the divine directly, for pagans, through worship of various gods; for Christians, through the cult of the saints (see Athanassiadi and Frede 1999, 1–20).