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one accounts for the long tradition of the prodigal son archetype, Shakespeare’s manipulation of it, and the queer energies of the play (Bassanio is certainly not unappealing to Antonio).

He embarks by proposing an analysis of four sixteenth- and seventeenth-century texts: Castiglione’s Il Cortegiano, Mario Equicola’s De natura d’amore, Giovanni Antonio Tagliente’s Opera amorosa, and

Speakers: Prof. Antonio Sorella (University G. D’Annunzio Chieti Pescara) and Prof.

Francesco Benelli (Columbia) turned our attention to a tiny diagram–less than one inch square–that the Renaissance architect Antonio da Sangallo the Younger added in the margins of his copy ... Antonio de Nebrija (1441-1522) was a Spanish

Reformation England (Cambridge: Cambridge University Press 2018). Antonio’s warning in The Merchant of Venice, ‘Mark you this, Bassanio, the devil can cite Scripture for his purpose’ (1.3.91-92),

In the later fifteenth century, for example, the Milanese writer Antonio Cornazzano wrote De Laudibus Caroli Magni (1461) and his compatriot Alberto Cattaneo compiled a history of the kings of France

DUKE Know ye Don Antonio, your countryman? VALENTINE Ay, my good lord, I […]. SILVIA A fine volley of words, gentlemen, and quickly shot off.

Antonio: do you want to go to Milan? Proteus: TOTALLY not my call! ... PROTEUS May’t please […]. ANTONIO  I like thy counsel. Well hast thou advised.

SEBASTIAN  I’m out of patience. ANTONIO  We are merely cheated of our lives by drunkards. ... They are louder than the weather or our office. Enter SEBASTIAN, ANTONIO and GONZALO Yet again?

SEBASTIAN  But for your conscience? ANTONIO  Ay, sir, […]. SEBASTIAN  What stuff is this? ... SEBASTIAN  He’s gone. ANTONIO  Then tell me, Who’s the next heir of Naples?