The literature of the Spanish Jews, however, was powerless to recover itself. Despite the calm succeeding the storm, it seemed to wither like autumn leaves. The decline was most marked in the department of Talmudic study. After the emigration of Isaac ben Sheshet and the death of Chasdaï Crescas, no Spanish rabbi obtained more than local authority and reputation. The only upholder of the traditions of the rabbinate was Isaac ben Jacob Campanton, who lived to be more than a hundred years old (born 1360, died at Peñafiel 1463); but he produced only one work (Darke ha-Talmud), which exhibited neither genius nor learning. Still, in his day, Campanton passed for the Gaon of Castile. Neo-Hebraic poetry, which had blossomed so profusely on Spanish soil, faded and drooped. Of those who cultivated it during this period only a few are remembered--Solomon Dafiera, Don Vidal Benveniste, the leading speaker on the Jewish side at the disputation of Tortosa, and Solomon Bonfed. The most gifted was the last. He was ambitious to emulate Ibn-Gebirol; but he possessed little more than the sensitiveness and moroseness of his great exemplar, like him imagining himself to be the sport of fortune, with a prescriptive right to lamentation. The Jews of Italy failed to distinguish themselves in poetry even during the Medici period, in spite of the high culture which, with the Hussite movement, was eating away the foundations of mediæval Catholicism. Since Immanuel Romi, the Jews of Italy had produced but one poet; even he was not a poet in the noblest sense of the word. Moses ben Isaac (Gajo) da Rieti, of Perugia (born 1388, died after 1451 ), a physician by profession, a dabbler in philosophy, and a graceful writer in both Hebrew and Italian, might have passed for an artist if poetry were a thing of meter and rhyme, for in his sublimely conceived poem both were faultless. His desire was to glorify in poetry Judaism and Jewish antiquity, the sciences, and the illustrious men of all ages. He employed an ingenious form of verse, in which the stanzas were connected by threes by means of cross-rhymes. But Da Rieti's language is often rough, many of his allusions show want of taste, and where he should rise to lofty thought he sinks into puerilities. Only in one respect does his work mark an advance in neo-Hebrew poetry. He breaks entirely with the traditional Judæo-Arabic method of a single rhyme. There is variety in his versification; the ear is not wearied by monotonous repetition of the same or similar sounds, and the lines fall naturally into stanzas. He also avoids playing on Biblical verses, the objectionable habit of Judæo-Spanish poets. In a word, Da Rieti supplied the correct form for neo-Hebrew poetry, but he was unable to vivify it with an attractive spirit. Yet the Italian Jews adopted a part of his poem into their liturgy, and recited extracts daily.