ining American city in which Madeira and Port and
_noblesse oblige_ are fully and widely understood, and are employed
according to the best traditions.

I have been told of a lady who remarked that Charleston was "the biggest
little place" she ever saw. I say the same. The littleness of the place,
it is sometimes pointed out, is expressed by the "vast cousinship" which
constitutes Charleston society, but it is to my mind expressed much
better in the way bicyclists leave their machines leaning against the
curb at the busiest parts of main shopping streets. Its bigness, upon
the other hand, is expressed by the homes from which some of those
bicyclists come, by the cultivation which exists in those homes, and has
existed there for generations, by the amenities of life as they are
comprehended and observed, by the wealth of the city's tradition and the
richness of its background. Nor is that background a mere arras of
recollection. It exists everywhere in the wood and brick and stone of
ancient and beautiful buildings, in iron grilles and balconies
absolutely unrivaled in any other American city, and equaled only in
European cities most famous for their artistry in wrought iron. It
exists also in venerable institutions--the first orphanage established
in the United States; the William Enston Home; the Public Library, one
of the first and now one of the best libraries in the country; the art
museum, the St. Cecilia Society, and various old clubs. More intimately
it exists within innumerable old homes, which are treasure-houses of
fine old English and early American furniture and of
portraits--portraits by Sir Joshua, by Stuart, Copley, Trumbull, and
most of the other portrait painters who painted from the time the
Colonies began to become civilized to the time of the Civil War--among
them S.F.B. Morse, who, I believe it is not generally known, made a
considerable reputation as a portrait painter, in Charleston, before he
made himself a world figure by inventing the telegraph.

Even without seeing these private treasures the visitor to Charleston
will see enough to convince him that Charleston is indeed
"unique"--though not in the sense implied in the story--that it is the
most intimately beautiful city upon the American continent.

To call Charleston "unique," and immediately thereafter to liken it to
other places may seem paradoxical. These likenesses are, however,
evanescent. It is not that Charleston is actually like ot