e o m 



51 



CON 



Compound thedral is very rich. The hospital for the reception of 



Siops. p 00r pilgrims is well endowed, and consists of two long 



s "~ *"Y~~*' square courts, surrounded with piazzas of freestone, 



supported by solid freestone pillars, and in the middle 



are beautiful fountains constantly playing. 



The other ecclesiastical buildings are large and im- 

 posing; but the most interesting of them is the convent 

 of St Martin, which is remarkable for its library, its 

 cloister, and its regular architecture, which is of the 

 Doric order. There are four parish churches in the 

 town, and eight in the suburbs, besides six convents. 

 There is also an university founded in 1 522, four col- 

 leges, four hospitals, and an elegant asylum for young 

 orphans. There are eight large mercantile houses in 

 Compostella, which carry on a considerable trade. There 

 is here a manufactory of silk stockings, three hat manu- 

 factories, one of paper, and three tan-yards. Compos- 

 tella is the seat of an archbishop, and the principal place 

 of residence of the famous order of the knights of St 

 James, who possess 87 commanderies, and a revenue of 

 upwards of 200,000 ducats of gold. The revenue of the 

 archbishopric is about £ 2.5,000. Population 11,900. (?r) 

 COMPOUND Stops, in Music, is a term for those 

 sets of ranges of pipes on an organ, whose notes are 

 made to sound at the same time, by touching a single 

 finger-key. Or, compound stops are such, wherein 

 each finger-key acts upon two, three, four, or even five 

 pipes of different pitches, and causes them all to sound 

 together. The most common of these stops in our 

 church organs are, the Cornet, the Sesquialter, and 

 the Mixture, or furniture stops : (See those several 

 articles.) These compound stops, when used in full 

 pieces, with other stops that are not pitched or tuned to 

 the actual note which they represent, in the diapason 

 stop, (which is considered as a sort of standard,) but to 

 the xiith, or xviith of such notes, (see Larigot, Tierce, 

 and Twelfth stops), cannot fail of introducing a great 

 number of actual discords even into the common chord, 

 besides beating concords in plenty, with the notes of 

 other finger-keys, as any one might readily satisfy him- 

 ,self, by writing down the values of the several notes 

 thus sounded together, or even their artificial commas 

 would be sufficient, taken from the first range, or 2's, 

 in the last column of Plate XXX. Vol. II. ; or, these se- 

 veral notes might all be deliberately sounded together 

 in succession, or in different pahs, on the single simple 

 stop of an organ with an extended scale, like that of 

 Mr Liston. From a series of experiments on such an 

 instrument, when truly tuned, the reason might per- 

 haps be discovered why the ear can tolerate such a mix- 

 ture and jargon of discordant sounds as a full chord on 

 an organ with compound stops presents ; and whether 

 it is merely by disregarding the discords, as it does any 

 extraneous noise during a concert, as some have sup- 

 posed, (g) 



COMPOUND Concords, in Music, are such as are 

 compounded of any two of the Concordant Elements, 

 (see that article,) or the simple or three least concords, 

 .3rd, III. and 4th, or any of those again with one or more 

 octaves, whether they form original, doubled, tripled, 

 &c. concords ; thus 3rd + III = V, 3rd -f- 4th = 6th, 

 and III -f 4th = VI ; 3d + VIII = X, III + 2 VIII, 

 &c. ; V + VIII = XII, 6th + 2 VIII, &c. are all com- 

 pound concords, (g) 



COMPOUND Intervals, in Music. Many writers, 

 from contemplating some one of the many ways in 

 which a particular interval may be compounded of, and 

 sonsequently resolvable into, other smaller ones, have 

 introduced this term, but which is in reality not a dis* 



tinction, since every interval whatever may be cnm- Cbmptonia 

 pounded of one, two, or three others, by addition, addi- II 



tion and subtraction, or double subtraction. If ore in- °V* e P" 

 terval is successively added to form another, such should s^. _ .' , __• 

 be called double, triple, quadruple, of that interval ; afl 

 examples of the above, the double fourth or 7th = 24th • 

 T = t + c, T = t + € + z, T=§ + P — 2, and 

 T=T — € — S, &c. ( c ) 



COMPTONIA, a genus of plants of the class Mo- 

 noecia, and order Triandria. See Botany, p. 322. 



CONANTHERA, a genus of plants of the class Hc-x- 

 andria, and order Monogynia. See Botany, p. 194. 



CONCEPTION, in pneumatology, is thus denned 

 by Mr Stewart : " By conception I mean that power of 

 the mind, which enables it to form a notion of an ab- 

 sent object of perception, or of a sensation which it has 

 formerly felt." (Elem. of the Philosophy of the Human 

 Mi nd, p. 132.) Again he says, p. 134, " The business 

 of conception, according to the account I have given of 

 it, is to present us with an exact transcript of what we 

 have felt or perceived." According to this view of the 

 subject, we ought to say, when we see an object with 

 our eyes open, that we have a perception of it ; when 

 we shut our eyes, we have a conception of it. 



We have no objection to this use of the word concep- 

 tion ; but we are strongly inclined to suspect that it 

 ought only to be considered as a modification of another 

 faculty of the mind, and not as a distinct and original 

 principle. In as far as conception relates to objects, or 

 feelings which have already been presented to the mind, 

 we cannot perceive in what it differs from the memory 

 of past sensations, or perceptions. We should be glad 

 to know the difference between a distinct recollection 

 of past feelings or occurrences, and the conception of 

 them. The object of memory is to store up in the mind 

 the impressions which we have already received, and 

 to bring them forth for use, as circumstances may re- 

 quire. When we have a distinct recollection of what 

 we saw and felt yesterday, we may, in popular lan- 

 guage, be said to have a clear conception, idea, or im- 

 pression of it. But in all this we can see nothing but 

 an ordinary exercise of memory: and we suspect that 

 philosophers have created this new faculty of conception 

 out of a figurative expression, which implies, at bottom, 

 nothing more than a particular exercise of memory. 



Mr Stewart confesses that conception is often con- 

 founded with memory. When a painter, for instance, 

 makes a picture of an absent friend, he is said to paint 

 from memory. But then it is said, " every act of me- 

 mory includes an idea of the past ; conception implies n® 

 idea of time whatever." Phi/osojrfiy of the Hum. Mind, 

 ubi supra. We apprehend there is no good reason for 

 this distinction. The memory leaves out all idea of 

 time, when it is conversant about mere relations, which 

 are general, and have no reference to time. When the 

 objects presented to our observation are of a singular 

 nature, and such as rarely occur, time becomes an im- 

 portant accessary, and is recorded with a particularity 

 corresponding to the rarity or supposed importance of 

 the things. Hence when any thing remarkable occurs 

 hi the course of our lives, we commonly say, that we 

 shall never forget the time. But nobody thinks of ta- 

 king any account of time in considering those relations, 

 which are treasured up in the memory, when they are 

 of such a kind as occur every day, and fall in with the 

 usual course of nature. In the same manner, when our 

 thoughts are directed towards feelings or events neces- 

 sarily connected with the past, and of such a nature 

 that we are led to wish or fear their recurrence, in that 



