23 Best Sights in South of Broad and the French Quarter, Charleston

During the Civil War, the Confederate army mounted cannons in the Battery, at the southernmost point of Charleston's peninsula, to fortify the city against Union attack. Cannons and piles of cannonballs still line the oak-shaded park known as White Point Garden—kids can't resist climbing them. Where pirates once hung from the gallows, walkers now take in the serene setting from Charleston benches (small wood-slat benches with cast-iron sides). Stroll the waterside promenades along East Battery and Murray Boulevard to enjoy views of Charleston Harbor, the Ravenel Bridge, and Fort Sumter on one side, with some of the city's most photographed mansions on the other. You'll find locals dangling their fishing lines, waiting for a bite. There are no public bathrooms within a 10-minute walk of the Battery, so plan accordingly. A bicycle is a great way to tour South of Broad, and it allows for a quick exit to the commercial part of town.

This city-owned, admission-free art gallery, with handsome contemporary architecture and a delightful location within Joe Riley Waterfront Park, rotates paintings, photography, and sculpture exhibits, showcasing predominately Charleston and South Carolina artists. Young and emerging talents exhibit, and residents and visitors alike love the many opening receptions and artist lectures. The second floor offers a privileged riverfront view.

One of the nation's finest examples of Federal-style architecture, the Nathaniel Russell House was built in 1808 and has been restored to a 19th-century aesthetic. Its grand beauty speaks to the wealth Russell accumulated through chattel slavery and how this allowed him to become one of the city's leading merchants. The kitchen, laundry, and certain living quarters have been transformed from storage space into exhibits on the enslaved people who lived and labored here. Inside, in addition to the famous "free-flying" staircase that spirals up three stories with no visible support, the ornate interior is distinguished by Charleston-made furniture as well as paintings and works on paper by well-known American and European artists, including Henry Benbridge, Samuel F. B. Morse, and George Romney. The extensive formal garden is worth a leisurely stroll.

Housed in a building that once printed Confederate money, Neema is the city's only gallery space dedicated exclusively to Black artists from the South. The rotating collection of artwork features large-scale prints, jewelry, and ceramics from a range of local and award-winning artists. Classes and workshops are regularly offered.

Built as a customs house in 1771, this building once served as the commercial and social center of Charleston and was the primary site of the city's public auctions of enslaved people. It was also the site of many historic events, including the state's ratification of the Constitution in 1788 and two grand celebrations hosted for George Washington. In addition to its role in the transatlantic slave trade, it was also used by the British to house prisoners during the Revolutionary War, experiences that are both detailed in exhibits. Costumed interpreters bring history to life on guided tours.

Used as a site for the auctioning of enslaved people (as well as a jail and morgue) until 1863, this building is now a museum that educates visitors on Charleston's role in the transatlantic slave trade. Charleston was a commercial center for the South's plantation economy, and enslaved people were forced to perform most labor within and beyond the city on the surrounding plantations. Galleries are outfitted with interactive exhibits, including push buttons that allow you to hear the historical accounts of enslaved people. The museum sits on one of the few remaining cobblestone streets in town.

The most avant of the contemporary galleries, this striking, minimalist space is a working studio for Robert Lange and other exceptionally talented young artists. Most of the work has a hyperrealistic style with surreal overtones. This is also home base for the work of lauded, whimsical painter Nathan Durfee and local-scene veteran Fred Jamar.

Founded around 1680, St. Philip's didn't move to its current site until the 1720s, becoming one of the three churches that gave Church Street its name. The first building in this location burned down in 1835 and was replaced with the Corinthian-style structure seen today. A shell that exploded in the churchyard while services were being held during the Civil War didn't deter the minister from finishing his sermon (the congregation gathered elsewhere for the remainder of the war). Amble through the churchyards, where notable South Carolinians are buried. If you want to tour the church, call ahead, as hours depend upon volunteer availability.

This gallery exhibits contemporary paintings by Betty Anglin Smith and her talented triplets, Jennifer, Shannon, and Tripp. Her son, Tripp, is a nature photographer specializing in black-and-white images. The bronze wildlife sculptures are by nationally recognized Darrell Davis; the acclaimed oil paintings by Kim English are attention-getters.

The first church building erected on this site in the 1680s gave bustling Meeting Street its name. The present-day Romanesque structure, dating from 1890, is configured on a Greek-cross plan and has a breathtaking vaulted ceiling. While the sanctuary is not open to visitors except during Sunday morning service, you are welcome to explore the graveyard, which is the oldest English burial ground in the city, with records dating back to 1695.

The intersection of Meeting and Broad streets is known as the Four Corners of Law, representing the laws of nation, state, city, and church. On the northeast corner is the Adamesque-style City Hall, built in 1801. Highlights of the historic portraits that hang in the second-floor council chamber (the second-oldest continuously used council chamber in the country), include John Trumbull's 1791 portrait of George Washington and Samuel F. B. Morse's likeness of James Monroe.

Owner Lese Corrigan displays her own impressionist-influenced paintings of Charleston and the works of some 20 other painters and photographers at this charming French Quarter gallery. Most pieces fit the genre of contemporary Southern art, and many feature recognizable Charleston scenes.

The original Dock Street, built in 1736, was the first theater building in America. The current structure, reopened in 1935, incorporates the remains of the old Planter's Hotel (circa 1809). Green velvet curtains and wonderful woodwork give it a New Orleans French Quarter feel. The Charleston Stage company performs full seasons of family-friendly fare, and Spoleto Festival USA uses the stage for productions in May and June.

In 1825, Charles Edmondston designed this house in the Federal style on Charleston's High Battery; it was built by the labor of enslaved people, who also lived and worked on the property. About 13 years later, second owner Charles Alston began transforming it into the Greek Revival structure seen today, also by using the labor of enslaved people. The home is furnished with family antiques, portraits, silver, and fine china; the stories of the enslaved people who lived here are intertwined with many of the exhibits.

The circa-1845 Gothic-style church is home to the nation's only practicing Huguenot congregation. English-language services are held Sunday at 10:30, with a tour given to any visitors immediately afterward.

This Georgian-style double house was the townhome of Thomas Heyward Jr., patriot leader, signer of the Declaration of Independence, and slaveholder. The city rented the residence for George Washington's use during the president's weeklong stay in Charleston in 1791. Inside, visitors find historic Charleston-made furniture, notably the withdrawing room's Holmes Bookcase, considered to be one of the most exceptional examples of American colonial furniture. Don't miss the formal gardens, which contain plants commonly used in the area in the late 18th century. Also significant is the 1740s kitchen building, as it's the only one of its kind open to the public in Charleston, and the laundry building, where new interpretive panels acknowledge the role that enslaved people played at the property.

This gallery carries sought-after Lowcountry paintings and still lifes by 13 artists, including paintings of coastal life and architecture by Mark Kelvin Horton and the moss-draped live oak trees of Clive R. Tyler.

Enjoy the fishing pier's "front-porch" swings, stroll along the waterside path, or relax in the gardens overlooking Charleston Harbor. The expansive lawn is perfect for picnics and family playtime. Two fountains can be found here: the oft-photographed Pineapple Fountain and the Vendue Fountain, which children love to run through on hot days.

This contemporary space houses the city's most impressive collection of art, including works by nationally and internationally acclaimed painters, sculptors, and photographers. It's especially well known for its bronzes and large wooden sculptures, as well as glass pieces and custom-designed jewelry. There's a second location on East Bay St., and the gallery provides works to several downtown hotels.

Completed in 1713, the oldest public building in South Carolina is one of the few that remain from the time of the Lords Proprietors. The city's volatile—and precious—gunpowder was kept here during the Revolutionary War, and the building's thick walls were designed to contain an explosion if its stores were detonated. Today, it's a small museum with a permanent exhibit on Colonial and Revolutionary warfare.

Topped by a 186-foot steeple, St. Michael's is the city's oldest surviving church building. The first cornerstone was set in place in 1752, and through the years, other elements were added: the steeple clock and bells (1764); the organ (1768); the font (1771); and the altar (1892). A claim to fame: George Washington worshipped in pew number 43 in 1791. Listen for the bell ringers on Sunday morning before worship services.