本文關注達彌施對阿西西教堂《聖方濟各的一生》系列壁畫的分析。有別於常見作品分析連貫的論點，達彌施的作品分析結構更顯破碎，議題各自分立。作品分析處理到五個議題：「繪畫作為工具」、構圖問題、壁畫層問題、手勢、風格。第一個議題討論符號理論出發點，第二、三、四議題則是對作品組成因素的功能探討，第五個議題論「風格」，並不將前面的發現串連為完整的符號解釋，而是一種延伸反思。研究發現，阿西西系列的分析在達彌施藝術符號學中是「句法」的例子，但「句法」不是規則，不是靜態的構圖方式，而是繪畫成形的歷程所透露的組織調度方式。

This essay focuses on Damisch’s analysis of the fresco cycle The Life of St. Francis in the upper church of San Francesco at Assisi. A notable point in Damisch’s treatise is its structure, which is rather fragmental compared to common argumentations. Damisch’s analysis consists of five sections, respectively: the proposition of “painting as an instrument,” discussions on the composition, on the intanaco, an analysis of the usage of “gesture,” and discussions on “style.” The first section concerns the establishment of the semiotic theory framework. The following three parts assess the elements in the frescoes, specifically their function. As for the fifth section, the inquiry of the stylistic aspect does not simply provide a conclusion to the semiotic study. Instead, it applies the discoveries from previous investigations to reconstruct the focusing point of analysis of paintings. The main discovery of this study is that the analysis of the Assisi cycle exemplifies “syntax” in Damisch’s Semiology of Art, yet not by being a static compositional scheme, a code, but by being the manifestation of a process of mise-en-scene.