other daring spirits had already accomplished two voyages; on the first of which they had actually succeeded in penetrating to the North Pole; while, on the second, they had visited a hitherto unexplored region of the great African continent, discovering the site and ruins of ancient Ophir; and, of course, in both cases meeting with many astounding adventures. Such were the two men who unexpectedly met on the steps of the Migrants' Club, and, after an interchange of greetings, made their way together to the smoking-room of that rather exclusive institution, whither the reader is now invited to follow them. As we enter the apartment, unobserved, we note, with some astonishment, that it is evidently one of the largest rooms in the building; the reason being that the Migrants are, almost to a man, ardent devotees of the goddess Nicotina; and as it seemed probable that the smoking-room would be the most-used room in the building, they very wisely determined that it should also be one of the largest. Another peculiarity which we notice is that, with the exception of the space over the massive and elaborately carved black marble mantelpiece--which is occupied by an enormous mirror--the walls are almost entirely covered with pictures in oils, water-colours, crayons, photography, ay, and even in pencil; most of them bearing evidence in their execution that they are the productions of amateurs, although here and there the eye detects work strong enough to suggest the hand and eye of the veteran professional painter. But, although so much of the work is amateurish, it is nevertheless thoroughly good, no picture being permitted to be hung upon the walls until it has been subjected to the scrutiny, and received the approval, of a Hanging Committee of artistic members. Looking more closely at these pictures, we note that--with the exception of the photographs, which mostly portray scenery of an exceptionally grand or otherwise remarkable character--they all illustrate some singular incident or adventure. Here, for example, is a water-colour sketch of a rent and collapsed balloon falling to the earth from a height that must be appalling, if we are to accept as faithfully represented the neutral tones and dwarfed dimensions of the several features of the landscape that occupies the lower half of the picture. And next it we observe a very powerfully executed oil painting representing a schooner-yacht, with topmasts struck and all other top-hamper down on deck, hove-to under close-reefed storm-trysail and spitfire jib, in close proximity to an evidently disabled and sinking ocean steamer, over whose more than half-submerged hull the mountain seas are breaking with terrific violence, sweeping away boats, hencoops, deck-fittings, bulwarks, and even some of the unfortunate people, who are dimly seen through the torrents of driving spray and cataracts of pouring water clinging here and there to the stanchions and rigging: the fury of the gale in which