{'fraction_non_alphanumeric': 0.0180623973727422, 'fraction_numerical': 0.0016420361247947454, 'mean_word_length': 4.700934579439252, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Credo ut mirer: Anselm on Sacred Beauty

Anselm has a peculiar fascination with the art of painting. It is a favorite source of analogies for him, some of them illuminating but others noticeably strained. His most famous use of painting as an analogy, in the widely anthologized and over-studied passage that contains his so-called ontological argument, is so grossly misleading and inept for Anselm’s purposes that one can account for its presence only by assuming that Anselm just had to get something about painting in there somehow. In this paper I consider Anselm’s interest in the art of painting with 1