It is by no means unlikely, that persons accustomed to reflection, and imbued with a certain degree of curiosity, when handling spectacle-glasses, and amusing themselves with their magnifying powers and other properties, might sometimes hit upon the construction of a telescope; as it only requires two lenses of different focal distances to be held at a certain distance from each other, in order to show distant objects magnified. Nay, even one lens, of a long focal distance, is sufficient to constitute a telescope of a moderate magnifying power, as I shall show in the sequel. But such instruments, when they happened to be constructed accidentally, appear to have been kept as secrets, and confined to the cabinets of the curious, so that they never came into general use; and as their magnifying power would probably be comparatively small, the appearance of the heavenly bodies would not be much enlarged by such instruments--nor is it likely that they would be often directed to the heavens. On the whole, therefore, we may conclude that the period when instruments of this description came into general use, and were applied to useful purposes, was when Galileo constructed his first telescopes.
Before proceeding to a particular description of the different kinds of telescopes, I shall first give a brief description of the Camera Obscura, as the phenomena exhibited by this instrument tend to illustrate the principle of a refracting telescope.
The term _Camera Obscura_ literally signifies a darkened vault or roof; and hence it came to denote a chamber, or box, or any other place made dark for the purpose of optical experiments. The camera obscura, though a simple, is yet a very curious and noble contrivance; as it naturally and clearly explains the manner in which vision is performed, and the principle of the telescope, and entertains the spectator with a most exquisite picture of surrounding objects, painted in the most accurate proportions and colours by the hand of nature. The manner of exhibiting the pictures of objects in a dark room is as follows:--In one of the window-shutters of a room which commands a good prospect of objects not very distant, a circular hole should be cut of four or five inches diameter. In this hole an instrument should be placed, called a _Scioptric ball_, which has three parts, a frame, a ball, and a lens. The ball has a circular hole cut through the middle, in which the lens is fixed, and its use is, to turn every way so as to take in a view of objects on every side. The chamber should be made perfectly dark; and a white screen, or a large sheet of elephant paper, should be placed opposite to the lens, and in its focus, to receive the image. If then, the objects without be strongly enlightened by the sun, there will be a beautiful living picture of the scene delineated on the white screen, where every object is beheld in its proportions, and with its colours even more vivid than life; green objects appear in the picture more intensely green, and yellow, blue, red or white flowers appear much more beautiful in the picture than in nature; if the lens be a good one, and the room perfectly dark, the perspective is seen in perfection. The lights and shadows are not only perfectly just, but also greatly heightened; and, what is peculiar to this delineation, and which no other picture or painting can exhibit--the _motions_ of all the objects are exactly expressed in the picture; the boughs of the trees wave, the leaves quiver, the smoke ascends in a waving form, the people walk, the children at their sports leap and run, the horse and cart move along, the ships sail, the clouds soar and shift their aspects, and all as natural as in the real objects; the motions being somewhat quicker, as they are performed in a more contracted scene.