Rt Historty; Comparison of two images; Early Christin/Byzantine Art Era

This is an Comparison Essay of two Images that need to be found on the (Byzantine period).I need two images inserted:
Question 1. What s going on? Describe what is in front of your eyes. What scene is represented? What are the figures doing? Can these figures in the works be identified?
Example by observing the figures actions, Cristina identifies all three scenes identified in the painting: The Annunciation, the Expulsion of Adam and Eve from the Garden of Eden, and Joseph warming his hands at a fire despite it being spring outside. She identifies the figures: Adam and Eve being herded out of paradise by an angel, with God looking down from on high; the angel Gabriel announcing to the Virgin Mary that she, miraculously, is with child; and Joseph warming his hands.

Cristina s descriptive passages indicate that she s looked carefully at the painting. She writes,  The angel is pushing Adam and Eve out of the Eden while God is gesturing down from an illuminated circle, commanding them to go. Compared to the whole piece, this section of the painting is very dark. The rich vegetation of the garden is shady with only a hint of the lightness from the flowers and the fruit.
Question two
2. Describe how the artist manipulates formal elements color, line, shape, forms, perspective, two-dimensional design to set a tone and, in doing so, sets the stage for the iconography.
In describing the Expulsion of Adam and Eve from the Garden of Eden, Cristina relates formal elements to iconographic ones (I ve bolded iconographic references, below). Iconography means identifying symbols and their meaning for example, spilled milk or broken eggs in Dutch genre paintings can mean loss of innocence. In Giovanni s painting, we might wonder why there s a fire in the middle of spring (answer: the fire predicts the season of Christ s birth).
Consider how the artist uses symbols in conjunction with the narrative and formal elements to reinforce the message that the patron wants conveyed.
Example 2
Cristina writes,  The use of these dark colors is possibly a representation of man s sin. The luminous quality of the light surrounding God and the halo of the angel bring some brightness to the scene highlighting their importance and supremacy over the sinners and exaggerating the dimness around Adam and Eve, creating the sense of void felt when man lives without God s grace.

 As Adam looks to the angel, the painted expression on his face is one of surprise and regret. Eve s expression in contrast is slightly solemn, yet almost comes across as indifferent. Giovanni s use of hierarchical proportion shows Adam an Eve in stature than the angel and places them on footing that is lower as well. There is a sense of downward motion that propels the couple down the hill seemingly into Mary s dwelling.

Cristina describes the composition.
 Overall, the construction of the portico is essential to the success of the painting. Providing the division necessary is key in achieving the symbolism of the piece and in creating balance, the elongated qualities of the architectural features of the room bring a perception of height to the piece and counteract its horizontal movement.

 The space, however, looks underestimated in the way the roof seems disproportionate to the rest of the house. Additionally, the column in front of Gabriel is unnaturally thin, in reality never being able to support the weight of the roof. The inattention to these details seems odd when noticing the care taken to show an accurate sense of space when viewing the coffered ceiling through the openings in the moldings above the column. Here is the logical place to insert an iconographic explanation for Giovanni s odd inconsistencies. In the process, Cristina ties up descriptions of individual scenes, the artist s use of color, light and shapes to articulate a specific message, and the themes as they relate to each other into a perfect bow
Question 3
Who s the artist? When did s/he live and where is he from? When was it painted?
Giovanni di Paolo, Siena, 1403-1483, was trained as manuscript illuminator and probably painted this around1445.
Question 4
Who commissioned the work? Did s/he come from the same place as the artist?
I am stumped on this one because there s simply not enough information until a scholar at some point, in the deep, dank basement of the Sienese archives, stumbles upon an arcane receipt, a contract, or a reference indicating who the patron might have been
Question 5
Why do you think s/he commissioned this particular work from this particular artist depicting this particular theme?
Cristina suggests that the expulsion of Adam and Eve might remind viewers what happens when you disobey God s word (or an authority associated with the Church) you get shuffled into a black hole where you ll experience a  sense of void without God s grace. It would make sense that a patron commissioned this work as a predella companion for a larger altarpiece, as Cristina suggests; for example, this theme of redemption would complement a Crucifixion, given that Christ s died for man s sins.
Cristina also notes that  It is rare to see an artist depict the expulsion and The Annunciation together and credits the artist s whimsical imagination and expression.
Question 6
What was happening at the time in the town/city/principality in which the painting was created? What other artists might have influenced this one?
Cristina talks the 14th century Sienese artist Duccio s influence on Giovanni as well as the revolutionary discovery of one-point perspective initiated by the Brunelleschi and Alberti and so embraced by the Florentines: She writes,  The application of his practice [of using bright colors and bold linear patterns] illustrates Duccio s influence&  and, later,  The thought used when rendering the floor tiles exhibits Giovanni s deliberate attempt at realism with the use of perspective, an influence from nearby Florence. This use of foreshortening shows his ability to mix contemporary developments with traditional ones.
Thank you for your time: Remember i need two images from the Cristian/Byzantine Art Era in the third/fourth century