anni Morelli, who tremendously influenced Berenson's method. In 1889, he met the famous connoisseur/art historian Giovanni Cavalcasselle and began publishing various studies on art, using the connoisseurship approach to art based upon the writings of Morelli. 1890 was a watershed year for Berenson. He met Morelli personally (and the young art historian Adolfo Venturi, also present that day); in England he met a married woman, Mary Smith Costelloe, who subsequently left her husband and small children the following year to follow Berenson; he also began dealing in art, scouting pictures for Richter, the London dealer Otto Gutekunst (ca. 1865-after 1939) and Warren. Berenson acquired his first works as a dealer/facilitator (Impressionist works and a Piero di Cosimo) for his friend, the British collector James Burke, in 1892. His book Venetian Painters, largely a rewrite of Mary Berenson's notes, appeared in 1894. The book, tracing the history of Venetian painting over four centuries, became the first in a series of four studies on Italian schools (painting styles). Berenson stated his method in an 1894 essay, "The Rudiments of Connoisseurship (A Fragment)," which later appeared in The Study and Criticism of Italian Art, Second Series of 1902. His brand of connoisseurship (so-called "scientific") was most clearly employed with the then unknown Venetian painter, Lorenzo Lotto, in Lorenzo Lotto: An Essay in Constructive Art Criticism (1894); it became Berenson's manifesto of Morellian analysis. Berenson was purchasing for the American banker Theodore M. Davis as well as Mrs Gardner, acquiring pictures for the latter based upon a percentage of the total cost. The second of his Italian-school treatments, Florentine Painters, appeared in 1896, a clearer treatise of author's theory of the painterly analysis. Berenson used his critical eye to group paintings according to how he considered the artist handled, for example, surface texture (which Berenson called "tactile imagination") or the weight and volume which the painted figures seemed to possess. Berenson’s categorizing tendency toward art history grew with the publication of Central Italian Painters (1897), the third of his Italian schools-of-art books. Here artists were divided into rankings such as "decorators" or "illustrators," or when these categories failed, the artists were organized by those employing spatial techniques whose results could, again according to Berenson, elicit specific "ideated" sensations from the viewer. Berenson's books quickly found a wide readership, providing him a steady, if modest, source of income. They rapidly became the texts for the nascent art history courses being developed in American universities. In 1900, Berenson bought a villa in the Tuscan hills of Settignano, outside Florence. Villa I Tatti subsequently would be forever associated with Berenson. The same year Mary Costelloe's husband died and she married Berenson. The two transformed the eighteenth-century house and gardens into a personal center for renaissance study. Berenson's library was famous and his guests numerous. He remained there, except for periodic travel, the rest of his life. At the villa he completed the first study of a school of drawing by an art historian--Berenson's only catalog--Drawings of the Florentine Painters (1903). A work of lasting importance, Drawings was an illustrated catalog of known Florentine drawings and a separate text describing and analyzing each artist using Berenson's critical method and assumptions of personality. Berenson collected his articles into three series each called, The Study and Criticism of Italian Art, a compilation of early articles. The Berensons traveled to the United States in 1903 meeting the important American collectors, Henry Walters (1848-1931) in Baltimore, and Peter Widener (1834/6-1915) and John Graver Johnson (1841-1917) in Philadelphia. Berenson's relationship between dealer and advisor became ever more ambiguous during this time. Unbeknownst to the Metropolitan Museum of Art, he received over $3000 in a personal c