Another point of view is presented by two emigrant Marranos of this period, father and son, the two Pensos, the one rich in possessions and charity, the other in poetical gifts. They probably sprang from Espejo, in the province of Cordova, escaped from the fury of the Inquisition, and at last settled, after many changes of residence, as Jews in Amsterdam. Isaac Penso (died 1683) the elder, a banker, was a father to the poor. He spent a tithe of the income from his property on the poor, and distributed, up to his death, 40,000 gulden. His decease aroused deep regret in the community of Amsterdam. His son (Felice) Joseph Penso, also called De la Vega from his mother's family (1650-1703), was a rich merchant, and turned his attention to poetry. A youth of seventeen, he awoke the long-slumbering echo of neo-Hebraic poesy, and caused it to strike its highest note. Joseph Penso boldly undertook a most difficult task; he composed a Hebrew drama. Since Immanuel Romi had written his witty tales in verse, the neo-Hebraic muse had been stricken with sterility, for which the increasing troubles of the times were not alone to blame. Moses da Rieti and the poetic school of Salonica composed verses, but did not write poetry. Even the greatest of Jewish poets, Gebirol and Jehuda Halevi, had produced only lyric and didactic poetry, and had not thought of the drama. Joseph Penso, inspired by the poetical air of Spain, the land of his birth, where Lope de Vega's and Calderon's melodious verses were heard beside the litany of the monks and the cry of the sacrificial victims, transferred Spanish art forms to neo-Hebraic poetry. Penso happily imitated the various kinds of metre and strophe of European poetry in the language of David and Isaiah.