A SHIPWRECK.

THIS energetic and masterly performance represents a catastrophe which the most eminent degree of human foresight, prudence, and skill, cannot avoid. A vessel, during a violent storm, has struck on a bank, and lies entirely exposed to the fury of the waves which are breaking over her, and will soon accomplish the work of destruction. In this appalling situation she is approached by several boats manned by resolute and skilful mariners, in their humane endeavours to save the unfortunate crew, some of whom are dropping from the bowsprit and rigging of the ship into a boat below.

The conception, composition, and execution of this picture have been justly and liberally described by the President of the Royal Academy, Sir M. A. Shee, as displaying a degree of excellence that would have been sufficient to establish the reputation of its distinguished painter even in the proudest period of Art. It was purchased by Sir John Leicester, Lord De Tabley, and has been twice engraved; in mezzotinto by C. Turner, and in aqua-tinta by Theodore Fielding..

TURNER.

UN NAUFRAGE.

Cette belle composition représente un de ces accidents que l'homme, avec toute sa prévoyance, sa prudence et son savoir, ne peut éviter. Un vaisseau a été poussé par la violence de l'orage contre un rocher; il est exposé à la fureur des vagues qui viennent se briser contre lui, et vont bientôt accomplir l'œuvre de destruction. Dans cette situation désespérée des chaloupes s'approchent, montées par des marins adroits et résolus, qui s'efforcent de gagner le vaisseau pour sauver les infortunés qui composent l'équipage. Quelques-uns de ces malheureux se laissent tomber du beaupré et des máts du vaisseau dans un de ces bateaux près d'eux.

Le président de l'Académie royale de Londres, Sir M.-A. Shee, a fait justement l'éloge de la conception et de l'exécution de ce tableau, disant que son mérite était tel, qu'il eût été suffisant pour établir la réputation de son auteur distingué, l'art fùt-il à son plus haut période.

Il fut acheté par Sir John Leicester, lord de Tabley, et a été deux fois gravé en mezzo-tinte par C. Turner, et à l'aquatinte par Théodore Fielding.

ANTIQUITIES AT POLA.

POLA, in the Istrian Peninsula, a city of the highest antiquity, was a place of considerable consequence under the Roman Empire: its prosperity and importance has, however, long since passed away, and its population now scarcely amounts to 700 souls; chiefly fishermen and their families. It is agreeably situated on the gulf of Trieste, has a cathedral, and is commanded by a citadel: the walls of the town were demolished by the French troops previously to abandoning it in 1814.

To the historical and classical antiquary, and to the admirers of the picturesque, the interest of Pola remains undiminished, containing numerous examples of ancient art, the most important of which are skilfully grouped in the annexed composition. On the left is seen the Temple of Rome and Augustus ; and on the right the arch of the Sergii, the Porta Aurata. The maritime character of the city is hinted by the gallies; beyond them is a portion of a gate which, in its perfect state, presented an elevation of three uniform arches, and led to the magnificent Amphitheatre, which stupendous edifice rises above all like a colossus and fills the scene: it stands within the site of the ancient town, measures 436 feet in its largest, and 346 feet in its smallest, diameter, and is 97 feet high. The Istrian stone used in the construction of these buildings is of a quality little inferior to the finest marble.

Some of the antiquities of Pola have been treated incidentally by Stuart and Revett; collectively, they make the subject of a splendid volume by Thomas Allason Esq., whose admirable sketches furnished the materials for this fine composition, which forms the frontispiece to the work, being engraved by George Cooke with all his characteristic taste and feeling.