and the firm was ultimately taken over by Messrs
Collard alone. Amongst his pupils on the pianoforte during this period
may be mentioned John Field, the composer of the celebrated _Nocturnes_.
In his company Clementi paid, in 1804, a visit to Paris, Vienna, St
Petersburg, Berlin and other cities. While he was in Berlin, Meyerbeer
became one of his pupils. He also revisited his own country after an
absence of more than thirty years. In 1810 Clementi returned to London,
but refused to play again in public, devoting the remainder of his life
to composition. Several symphonies belong to this time, and were played
with much success at contemporary concerts, but none of them seem to
have been published. His intellectual and musical faculties remained
unimpaired until his death, on the 9th of March 1832, at Evesham,
Worcester.

Of Clementi's playing in his youth, Moscheles wrote that it was "marked
by a most beautiful _legato_, a supple touch in lively passages, and a
most unfailing _technique_." Mozart may be said to have closed the old
and Clementi to have founded the newer school of _technique_ on the
piano. Amongst Clementi's compositions the most remarkable are sixty
sonatas for pianoforte, and the great collection of _Etudes_ called
_Gradus ad Parnassum_.

CLEMENTINE LITERATURE, the name generally given to the writings which at
one time or another were fathered upon Pope Clement I. (q.v.), commonly
called Clemens Romanus, who was early regarded as a disciple of St
Peter. Thus they are for the most part a species of the larger
pseudo-Petrine genus. Chief among them are: (1) The so-called Second
Epistle; (2) two Epistles on Virginity; (3) the _Homilies_ and
_Recognitions_; (4) the _Apostolical Constitutions_ (q.v.); and (5) five
epistles forming part of the Forged Decretals (see DECRETALS). The
present article deals mainly with the third group, to which the title
"Clementine literature" is usually confined, owing to the stress laid
upon it in the famous Tuebingen reconstruction of primitive Christianity,
in which it played a leading part; but later criticism has lowered its
importance as its true date and historical relations have been
progressively ascertained. (1) and (2) became "Clementine" only by
chance, but (3) was so originally by literary device or fiction, the
cause at work also in (4) and (5). But while in all cases the suggestion
of Clement's authorship came ultimately from his prestige as writer of
the