became organized as Western mendicants in the mid-thirteenth century. 62 The fresco thus reflects an image of something earlier and elsewhere. Indeed, once this issue is opened up, it seems obvious enough that we see here the same scene as in Pietro Lorenzetti's image of the Carmelite hermits on Carmel with the spring. Lorenzetti's landscape form, with its bleak rising rock and isolated trees, is in fact closely duplicated. Among these forms we see again the anonymous friars that are now very familiar. To insist on the life of the friars on Carmel in ancient times is, in a general sense, to do the same thing that was done in this very church by the young preacher who annoyed the Piovano Arlotto. They now are shown, to be sure, in white robes, but Masaccio shares that anachronism.
A remarkable series of great masters explored this motif, which seems a unique one in the period, with a group of anonymous people serving as both subject and patron. Prodded into being by an odd self- interest, it yielded an exceptional extension toward modernism. After 1430 this penomenon seems to stop. The Carmelites were beginning to represent the rather ordinary saints of their order in their paintings; St. Albert of Sicily first is found about 1410. 63 In Dughet's seventeenth- century frescoes, where the startling effect of heroic landscapes surrounds us in a Carmelite church, and crowds of tiny figures of holy men fill them, we might seek an echo of these patterns. On inspection, however, the scenes resolve themselves in most cases into specific narratives of Elijah and others. 64