On the right the rocky coastline is silhouetted and behind is a hilly landscape with buildings. The sternpost, flag and one mast of the ship are still visible as, centre foreground, it is dashed against the rocks by the force of the storm. A broken and jagged piece of mast floats in the water to the left, with a wave threatening to wash away a figure clinging to it. Another piece of mast and sail is visible directly to the right of the wreck, which could belong to another vessel. Behind this another ship with three masts and sails unrigged is also heading towards the rocks and certain disaster. The sea is rendered dark with light crests, and the water around the wreck is lighter to exaggerate the dramatic effect.

The painting may have been understood as a metaphor for the forces of Islam being destroyed on the rock of Christ, since the vessel driven on to the rock bears the Turkish crescent on her sternpost. A dark tower stands out against the sky, and behind the wrecked ship a grey mass of clouds rises and spreads out to the upper left. Other clouds provide a strong contrast between light and dark to enhance the dramatic effect. Indeed the artist left Antwerp for Italy about 1667 where he developed his distinctive palette, combining warm browns and an unusual use of mauves with the green seas of his Flemish background. In Italy he became known as 'Pietro Tempesta' owing to his predeliction for stormy subjects.