they could use in their own projects. The final section continues with this theme and offers a broader interpretation of what Strada meant when he described his profession as antiquary. Here Jansen explores the work of Arnoldo Momigliano and others as he assesses the cultural impact of his activities in Central Europe. Jansen has a sober view of Strada's gifts and talents, the limits of his interests and actual expertise. Using the work of the American sociologist Everett Rogers who introduced

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... he term "early adopter," Jansen sees Strada as an innovator who spread and promoted knowledge of antiquity and then helped his patrons apply this intelligence to a wide variety of cultural products ranging from architecture to festival design, from the display of collections to the development of libraries. The personality and career of Jacopo Strada have in many respects been Jansen's life's work. It is clear to what extent this biography has been a true labor of love. Despite its length, the study is easy to navigate, and Jansen writes in an almost colloquial style that is a refreshing break from more turgid academic prose. The two volumes also feature hundreds of illustrations that, apart from a small subvention, Jansen included at his own expense. This, in fact, may be one of the most valuable features of the study, for Strada, the avid collector, numismatist, and bibliophile, also opens new vistas to our understanding of the material culture of the Renaissance.