There seems to be some confusion over the interpretation of the plaques commonly displayed on Charleston houses, which reads, “Carolopolis”. I have heard people on tours being told that it is Latin for “Charleston”, but that is simply not true. The Latin word for city is “urbis”, and “polis” is actually the Greek name for city.
According to the Preservation Society of Charleston, which has offered the award since 1953, the name combines the Latin “Carolus”, which means Charles, with the Greek “polis”, which means city. Charlestonians historically were taught both Latin and Greek, and our famous architecture is largely a combination of revival Roman and Greek styles.
The Carolopolis Award is annually awarded to property owners who have restored, replicated or maintained historic architecture, and the distinctive round medallion also includes the year awarded and the term “Condita A.D. 1670”, referring to the founding of the city in “Anno Domini” 1670, which means “established in the year of our Lord 1670”.
Along with the Carolopolis Award, a number of historic properties display markers designating a preservation easement. These legally-binding attachments to the deed restrict future alterations to both interior and exterior, and often stipulate that the property will not be sub-divided into condominiums. A conservation easement is perpetual, so once attached to the deed, it cannot be changed.
Another common plaque on historic houses are “fire marks”, supposedly attached to buildings to show fire companies that a policy had been paid, otherwise they would not fight the fire. This is completely untrue, and most of the fire mark are reproduction fakes.
Charleston city fire ordinances required all fire companies to respond to any blaze, and although there was a reward system for the first companies on the scene, it was not paid by the fire insurance companies, but by the city. Plaques, such as the common “Mutual Fire Insurance Company” are nice to look at, but no such company existed in Charleston – it was a Philadelphia company, and the marks were made in the 1920’s, long after Charleston went to public fire service.
We were entertained today on the tour by a red-tailed hawk who was roosting in a tree in St. Michael’s Episcopal Church graveyard. The big bird of prey is common throughout North America, but has really had its numbers grow here in the Southeast, and is very often seen in urban areas. The hawk has eyes that are strong enough to pick out small mice 300 feet away, and feasts on rodents from perches high in trees, or by circling overhead and swooping down. The red-tailed hawk is very evident by its ruddy-colored tail that fans out when flying, and it grasps prey with powerful talons that can easily dig through flesh and bones.
The scientific name for the red-tailed hawk is Buteo Jamaicensis, so-called because the first discovery of the species was in the West Indies. They often fly in pairs and have long-lasting mates, communicating with one another with shrill whistling calls that have been used in movies to dub over eagles in flight, because it sounds so much better than the sound eagles actually make.
Everybody on the tour was fascinated with the bird sitting so close by, but the bird was oblivious to us, simply watching for its next meal.
The city of Charleston began digging its first sewer system in the Fall of 1894, and the first operational pipes were laid in some of the old walled city. This very simple system involved running pipes at angles underground so that sewerage would flow to certain holding tanks, which would then be lifted beneath the surface by pneumatic pumps into a discharge pipe that would carry it to the surrounding rivers through charcoal-imbedded
filters meant to clean the refuse.
The original “lifting station” opened in the Spring of 1895 was located at the corner of Church and Water streets, where this massive iron manhole plate still stands. It was excavated down to 15 feet below the surface for collection of sewer, which is remarkable considering Water Street is former Vanderhorst Creek.
The project was begun during the administration of mayor John F. Ficken, and succeeding mayors J. Adger Smyth, Robert Goodwyn Rhett, and John P. Grace, the pipes expanded throughout the city, and citizens were encouraged to pay the fee to tap into the new system. Until the early 20th century, Charleston had thousands of outdoor privy houses downtown that spread disease and stench, and the modern flush toilets offered a giant leap into the modern era by discharging into pipes that could move sewer elsewhere.
Of course, this didn’t completely solve the pollution problem, as waste water was dumped indirectly into the Ashley and Cooper rivers until 1971, when the Plum Island waste treatment plant went into operation under Mayor J. Palmer Gaillard, and has since been affectionately known as “Gaillard’s Folly” or Charleston’s “johnny on the spot.”
Although Charleston is proud of its time-honored traditions and the classic shapes of its architecture, the city has also been known for its non-conventional spirit. Local artist Lese Corrigan added an alternative aesthetic to old Queen Street seven years ago this Saturday, with a gallery that offers a much different perspective than the predictable prints of The Battery and Rainbow Row. The Corrigan Gallery celebrates its 7th anniversary Saturday with an open invitation for art lovers to enjoy lemonade and explore creations of numerous artists whose images are consistently absorbing, thought-provoking, and inclined to push the envelope.
Artists featured at the Corrigan Gallery include local surgeon Duke Hagerty, who was my next-door neighbor as a boy on Legare Street. Duke’s art work is a delightfully chimerical blend of shape,color, and symbolism as his “Existential Jukebox” shows.
In coordinating with the Charleston Fine Art Weekend in November, the Corrigan Gallery will present a show entitled “Over the Edge”, featuring some of the body of work that Lese has created over the past 25 years in Charleston.
Other featured artists at the Corrigan Gallery include Karin Olah, Jennie Summerall, Paul Mardikian, and Gordon Nicholson. The gallery is at 62 Queen Street in the French Quarter, and is a great stop during the quarterly French Quarter Art Walks.
Of the many colorful plants and trees that accentuate Charleston’s historic architectural beauty is the distinctive “Angel’s Trumpet”. This flower is very distinctive, blooming in the late Summer with massive, drooping orange petals in gardens such as the one at 31 Legare Street.
The House at 31 Legare dates to 1789, and is famously known for a the ghost of a man killed in a deer hunting accident centuries ago who supposedly haunts the drawing room with his presence. Ironically, the Angel’s Trumpet, whose scientific name is Brugmansia Sauveolens, is famous as an hallucinogen. It comes from tropical regions of South America, where it was boiled in teas by primitive tribes to create hallucinatory effects believed to link them to the afterlife.
The flower was named for Dutch botanist Sebald Brugmans, and considering the Dutch propensity for getting high, this connection seems very appropriate. Brugmansia was not grown in North America until the mid 19th century, so some of the old Charleston ghost stories may have been induced by native hallucinogenic plants such as the Jimson weed, which once grew throughout the city. Apparently, cows, goats, and horses were grazing on the Jimson weed doing some might strange things in the streets, so the city passed and ordinance in the 1750’s requiring property owners to remove it under punishment of fines.
Fortunately, you won’t get fined for growing the Brugmansia in your Charleston yard. Just be warned that the hallucinations from ingesting this plant can be very unpleasant, and we don’t need any more ghosts in the old city.
The Middleton-Pinckney House on George Street represents the high-water mark of Charleston wealth in the post-Revolutionary period, and ironically was literally pumping tons of water daily one hundred years later.
The 1796 Federal-style structure was built for wealthy widow Frances Motte Middleton, who later married Gen, Thomas Pinckney. Both came from powerful, influential families that prospered from rice plantations that made Charleston among the wealthiest cities in colonial America.
The outer elegance would survive Civil War and Charleston’s economic decline, but the spacious interior was gutted for steam powered shafts that pumped water through pipe mains first created throughout the city by the early 1880’s, as the old mansion became home to the city water utility. Until the post-Civil War period, shallow wells and rainwater had been Charleston’s water supply, and the populace suffered from water-borne diseases spread by germs that festered in the city’s heat. A new artesian well system was successfully completed in 1878, allowing for the pumping of 3 million gallons daily from a huge reservoir behind the house.
In 1933, a public swimming pool was built on the property, and was used until 1963. By that time, Charleston’s water supply was primarily derived from the Edisto River, but the artesian flow continued until the 1980’s when the underground aquifer dried up.
The Middleton-Pinckney House is now home to administrative offices for Spoleto USA, Charleston’s annual international arts and music festival, and presumably it is a welcome signal from the past if the roof springs an occasional leak.
Many people from long-time Charleston families have attended formal parties at the Wickliffe House on Ashley Avenue. The 1850 house is now property of the Medical University of South Carolina, and is rented out for weddings and other formal functions that rekindle memories of the grand balls that epitomized society in the antebellum South.
The house was built by rice planter John Hume Lucas, whose family owned Hopsewee Plantation on the banks of the Santee River. Hopsewee had been home to Thomas Lynch, Jr., signer of the Declaration of Independence, and was sold to Lucas in 1844. Like many wealthy rice planters, Lucas spent the hotter Summer months in Charleston to avoid the swarms of mosquitoes along the Santee River delta.
When the Lucas(Wickliffe) house was built, it stood overlooking the Ashley River, and was cooled by the prevailing westerly breezes that blow through Charleston. Across the street, the Lucas family was entertained by marching soldiers at the Federal arsenal, which would later become home to Porter Military Academy, the now the Medical University.
Although the waterfront area has long been filled in and is now crowded with towering hospitals and research facilities, the old house retains its antebellum aura with grand piazzas overlooking a still-substantial property, and inside, massive ballrooms where the cream of Charleston society once mingled.
Doing some research the other day, I came across a letter written by Charlestonian Alicia Rhett in 1943. For those who are not familiar with Miss Rhett, she played India Wilkes in “Gone With The Wind”, and was a world-class portrait artist here in Charleston for many years from her Tradd Street home. When the new Dock Street Theatre was being constructed in 1936 on Church Street in the old Planters Hotel building, Miss Rhett was very much involved in the decorations and planning. Her letter describes the varying details she added to the theatre, which was replicated to look like the 18th century Dock Street Theatre that had disappeared after the Revolution. Miss Rhett personally hung drapes in the upstairs boxes and added artistic details to the theatre lobby, as well as creating the distinctive seal of King James VI featured above the stage curtain. The symbolic “order of the garter” includes the unicorn of Scotland and the Lion of England, representing the union of those countries in 1707, and is embellished with French slogans “Dieu et mon Droit” and “Honi sont qui mal y pense”, meaning “God and my right” and “Foolish are those who think badly(of others)”. The notable symbol was first displayed in the Charleston area at the old Goose Creek church in the early 1700’s, and was chosen for the Dock Street Theatre replication project as part of a myriad of motifs throughout the theatre property that incorporate classic architectural themes from Charleston’s past.
By the way, Miss Rhett is still with us at age 98, now living in a nursing facility but, according to her nephew, still possessing the sharp mind that provided so many Charlestonians with lasting images of their families.
Saturday August 4th marks one of Charleston’s most somber anniversaries – the hanging of Col. Isaac Hayne. A rice planter from Colleton County, Hayne was commissioned as an office in the South Carolina forces fighting for independence against the British. Hayne was among the thousands of soldiers trapped in Charleston during the second British siege in 1780, and was captured and paroled. Under the terms of parole, an officer was allowed to return to his home under the condition that he not take up arms again, under the punishment of death.
But Hayne, who was an accomplished soldier with outstanding leadership, was put in an awkward position by the British in 1781, as fortunes were turning in favor of the Revolutionary cause in South Carolina. The English demanded that Hayne take up arms for the British, or be subjected to house arrest at his Walterboro plantation. Hayne chose the threat of death rather than change his convictions, and considered the British offer tantamount to violating the terms of parole, once again joining the American ranks. He was captured again, and held in the basement of the Exchange building at the foot of Broad Street that still stands today.
Found guilty of treason, he was marched through the streets of Charleston to the gallows at White Point, encountering sobbing citizens along the way who begged the British not to hang one with such honorable standing in the city. Hayne’s hanging not only helped inspire South Carolina’s patriots to drive the British out within the year, it also gave rise to a famous ghost story.
According legend, Hayne passed the house of his sister on the way to the gallows, and she called out to him to please come back to her. Her supposedly promised that he would return, and there have been claims that his boots can be heard marching down Broad Street at the dead of night.
When I was first enrolled at old Gaud School for boys as a fourth-grader in 1961, classrooms were in the 1760’s John Rutledge House on Broad Street. This venerated Georgian structure had been home to Rutledge, who was a signer of the US Constitution, and was later remodeled with details added by the great Charleston iron master Christopher Werner. In the early 20th century, it was home to Robert Goodwyn Rhett, Charleston mayor and good friend of President William Howard Taft, who visited the house on several occasions, and it was here that Rhett’s cook, Henry Deas, created the famous she-crab soup as a treat for the President.
Not only noted for its great beauty and historic connections, the house famously survived the great fire of 1861, which literally passed by next door and ruined 540 acres of Charleston, with the Rutledge House only slightly scorched on its west side.
After all this, however, there came three years of young school boys who went to the extent of their creative and delinquent genius to forever change the old building. Exquisite parquet floors became scratch pads for initials, enchanting marble mantels were targeted daily with spitballs, hand-carved doorways were peppered by paper airplanes equipped with needle noses, time-worn iron railings rattled with outlandish yo-yo tricks, and classic staircases were lined with peeled bumper stickers turned upside down to stick on teachers’ shoes.
In the same spaces where a Constitution signed dreamed great thoughts and a President was hailed, the swish of rubber-band/ruler guns and the clatter of rolling “steelies” made the Rutledge House a challenging place…not to learn, but to see who could outdo the other in new, entertaining mischief.
Alas, the Rutledge House room with which I was most familiar was the second floor area reserved for detention, and I actually found myself there one Christmas Eve, writing “I will not release my ant farm in class” 250 times.
Gaud School moved out in 1965, and some people in the neighborhood swore that, from the old Rutledge House, they heard a gigantic sigh of relief