Clementi lived to the age of eighty, and spent the last twelve years of his life in London uninterruptedly, his growing feebleness preventing him from taking his usual musical trips to the Continent. He retained his characteristic energy and freshness of mind to the last, and was held in the highest honor by the great circle of artists who had centered in London, for he was the musical patriarch in England, as Cherubini was in France at a little later date. He was married three times, had children in his old age, and only a few months before his death, Moscheles records in his diary, he was able to arouse the greatest enthusiasm by the vigor and brilliancy of his playing, in spite of his enfeebled physical powers. He died March 9, 1832, at Eversham, and his funeral gathered a great convocation of musical celebrities. His life covered an immense arch in the history of music. At his birth Handel was alive; at his death Beethoven, Schubert, and Weber had found refuge in the grave from the ingratitude of a contemporary public. He began his career by practicing Scarlatti's harpsichord sonatas; he lived to be acquainted with the finest piano-forte works of all time. When he first used the piano, he practiced on the imperfect and feeble Silbermann instrument. When he died, the magnificent instruments of Erard, Broadwood, and Collard, to the latter of which his own mechanical and musical knowledge had contributed much, were in common vogue. Such was the career of Muzio Clementi, the father of piano-forte virtuosos. Had he lived later, he might have been far eclipsed by the great players who have since adorned the art of music. As Goethe says, through the mouthpiece of Wil-helm. Meister: "The narrowest man may be complete while he moves within the bounds of his own capacity and acquirements, but even fine qualities become clouded and destroyed if this indispensable proportion is exceeded. This unwholesome excess, however, will begin to appear frequently, for who can suffice to the swift progress and increasing requirements of the ever-soaring present time?" But, measured by his own day and age, Clementi deserves the pedestal on which musical criticism has placed him. MOSCHELES.