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* CLEMENT. have no autliority beyond their own assertion. For a defense of the assassination of Henry III., consult Piiiselet. /.e marfyre du frere Jacques rirmtnt (Paris, 1.589). CLEMENT, .Jean Pierre (1809-70). A Krinili ))<ililic-al economist and historian, born at Dragnignan. He was an olKeial in the Ministry of Kinanee, and wrote, with the aid of original documents, a number of authoritative works on finance, particularly French financial admin- istration. These include: Histoire de la vie et dc V administration de Colbert (1846) ; Histoire du systeme proteeteur en France depuis Colbert jusqu'd, la revolution de ISJ/S (1854); .and Etudes financieres et d'vconomie sociale (1859). CLEM'ENT, Justice. An 'old merry magis- trate' i)i .lonson's Every Man in His Humour, who threatens Cob with jail because "he depraves and abuses an herb so generally received into the courts of princes" — i.e. tobacco. CLEMENTI, kla-men'te, Jacopo di, da Em- roLi (often called Cuimenti) (1554-1640). An Italian painter of the Florentine school, born at Enipoli. He was a pupil of Tommaso di San Friano (or Tridano), and was influenced by the works of Andrea del Sarto and other Florentine masters. In his own canvases his manner is severe to rigidity, his treatment often realistic, and his color pleasing. Among his chief paint- ings are "Christ in Gethsemane," in the Prado Museum, Madrid; "Saint Ives," and the "Sacri- fice of Isaac" in the Uffizi Gallery, Florence. He was also a painter of still life. CLEMENTI, kla-men'te, Muzio (1752-1832). An Italian piano virtuoso and composer, born in Rome. His father, a goldsmith and ■ fer- vent music-lover, placed him tmder a relative, Buroni, for lessons in piano and harmony, and in 1761 Clementi became an organist. Later on, Carjjani taught him counterpoint; and Sarta- relli, singing. In 1766 an Englishman, Beck- ford, delighted with his playing, took him to England, where he continued his musical studies imtil 1770. He was now a finished virtuoso, and published three piano sonatas (Op. 2) — the first works of this kind that bear the modern form. His success as a performer in London was extra- ordinary, and in 1777-80 he was cembalist (con- ductor)" at the Italian opera there. His fir.st tour (1781) included Strassburg, Munich, and Vienna, where his public contest with Mozart became an historic event, though the palm was awarded to neither. He aroused great enthusiasm in Paris (1785), but, in spite of it, decided to enter busi- ness. He returned to London, secured an inter- est in the publishing and piano-manufacturing firm of Longman & Broderip, and after its fail- ure formed a partnership with Collard. The mechanical perfection of the piano absorbed most of his energies, yet he found time to write theo- retical works, and to give instruction — a field in which he had no rival. His concert tours in Russia (1802), and afterwards in Germany and Italy, were wonderfully successful ; but his enter- prises in London, by which he amassed a forttine, claimed most of his attention. He retired in old age to his estate at Evesham, near London, and dFcd there March 10, 18.32. Among dementi's pupils, Field, Cramer, Moscheles, Kalkbrenner, and Meyerbeer are the most noteworthy. Even Beethoven owes nnich to Clementi in his works Jor the piano. His style as a performer was that 22 CLEMENTINA. of a virtuoso, characterized by polish, vigor, and brilliancy, and a beautiful singing tone; and he esijecially excelled in improvisation. Of his works the sonatas are brilliant and melodious, while his series of e.vercises, (Iradiis ad I'arnas- sum (1817), remains an indispensable work in every pianist's equipment. Consult: Ferris, Great Violinists and Pianists (New York, 1894) ; Shedlock, The Pianoforte Sonata (London, 1895) ; Frojo, Muzio Clementi, la sua vita, le sue opere e sua influenza sul progresso dell' arte (Milan, 1878). CLEM'ENTI'NA, or PSEUDO-CLEMEN- TINE (su'do-klem'pn-tin) WRITINGS (Lat. nom, pi., from Gk. KXTj/if'n-ia, KICinenlia, from Lat. Clemens, Clement), A collection of dis- courses and stories, bearing the name of Clement of Rome ( q.v. ), of uncertain authorship and date, but in their jiresent form not earlier than the beginning of the third century. The first external testimony to their existence is found in the writings of Origen (died c.254). The groundwork upon which the compilation rests may, perhaps, date from the second century. The pseudo-Clementine literature includes twenty Homilies, ten Recognitions, and an Epitome, which were all written in Greek. The last is relatively tinimportant. In the Homilies and Recognitions we have what purports to be the stoiy of Clement's career, in company with his teacher, the Apostle Peter. The bulk of the nar- rative consists of an unsystematic and frequently interrupted account of the experiences of Peter with the arch-heretic Simon ilagus, with whom he carries on doctrinal and ethical discussions, and whom he victoriously follows from place to place, founding churches on the way. The theological position of the writer is clear- ly discernible. He is a .Jewish Christian Gnostic, perhaps of the sect of Elkesaites ( q.v. ). He ig- nores (some would say, opposes) Paul, and exalts the person of James, "the Lord's brother," It is for the sake of the teaching contained, rather than for the sake of any historical narration, that the Clementina exist'. This purpose appears niost plainly in the Homilies. The Recogni- tions traverse the same general ground, btit with •-ariation of treatment and with greater atten- tion to the events themselves. Historical criti- cism has not yet reached definite conclusions on all the problems presented by these curious writings. That there has been more or less work- ing over of earlier material is generally con- ceded. Recent opinion inclines toward Syria as the probable home of the work on which the writings are based (Uhlhorn), and toward Rome as a possible source for the books in their present form (Harnack). But we have thus far no means of constructing even a plausible h^^pothesis as to the person or persons by whom they were recast. Bibliography. Among editions of the pseudo- Clementine writings may be mentioned: the edi- tion of the Homilies by Lagarde (Leipzig, 1805) : of the Recognitions by Gersdorf (Leip- zig, 1838) ; of the Epitome by Dressel (Leipzig, 1859) : Eng, trans, in the Ante-yicene Fathers, cd. by A. C. Coxe, vol. viii. Consult, in general: G. Kriiger, History of Early Christian Litera- ture (Eng. trans.. New York, 1897) : Harnack, Cesvhichte der altcliristlichen Liiteratur, i. (Leipzig, 1893) ; C. Bigg, The Clementine Bomi-