本論文主要檢視史丹利• 史賓社在其天堂迷宮之旅中的聖經圖像。研究結果顯示「神聖」一詞無法用來形容他的作品，但「中介神聖」一詞或許較適用。顯然史賓社創作時，習慣於從凡夫俗子日常實際生活經驗中取材，當他滿意這些觀察所得時，他才會反映到形上學的天堂概念。此外，史賓社之旅程近似於原始神話，在此神話裡人們尋求解救靈魂時，必須具備力量克服凡間的險惡。很顯然地，史賓社具備此力量並透過自我反映後定立生命計畫；再者，史賓社所描繪的天堂卻令人覺得有如地獄般。在最佳作品裡，他對紛擾迷惑的現實情況表達出一種邊緣及憂慮關係。史賓社創作動力源自於本身理想主義的成果，清楚表達出受苦的人類渴望一個較美好的世界，亦透過上帝及耶穌之拯救力量尋求救贖，但他對描述天堂般的極樂世界所作的努力也鼓舞他啟發他生命真諦及人類情況。

This study examined Stanley Spencer’s biblical imagery in his journey to his “heavenly maze”.The findings reveal that the term sacred cannot be used to describe his image production and that the term mediated sacred may be more apt in relation to his artwork. It is evident that Spencer’s image-making stayed anchored consistently in his apparent realistic experience. Only when he was content that his down-to-earth explorations were legitimate did he use images from them to echo his metaphysical up-in-heaven concepts. Moreover, Spencer’s journey was akin to the archetypal myth in which a man searching to secure his soul must have the power to face and overpower earthly dangers.Evidently, Spencer had the power and capacity to formulate his life project through the power of self-projection. It is also evident that most of Spencer’s heaven feels like hell. In his best work, he expressed a peripheral and anxious relationship to reality that still compels and disturbs. The impulse for his creativity came out of his own idealistic efforts to articulate suffering humanity’s craving for a better world and he sought salvation through the redemptive power of God and Christ, but his efforts to portray a heavenly nirvana also encouraged him to throw a revealing light on vital aspects of life and the human condition.