William Anthony, The Last Of The Charlies

William Anthony 1789-1863
Behold the face of history! Photographed in 1863, the year of his death, but born in 1789, the year of the French Revolution, seventy-four-year-old William Anthony trudged the streets of Spitalfields and Norton Folgate through the darkest nights and thickest fogs for half a century, with his nose pointed into the wind and his jaw set in determination, successfully guided by a terrier-like instinct to seek out miscreants and prevent the outbreak of any unholy excesses of violence, such as erupted on the other side of the channel at the time of his nascence.
No wonder the Watch Book of Norton Folgate recorded an unbroken sequence of “All’s Well” for his entire tenure. No robbery was reported in fifty years. There was no nonsense with William Anthony. We need him at night on Brick Lane today.
The origin of the term ‘Charley’ for Watchman may originate in the time of Charles I when the monarch improved the watch system, although Jonathon Green, Spitalfields Life Contributing Lexicographer of Slang, who informed me of this possible derivation, can find no subsequent use in print for another one hundred and fifty years, when the term achieved currency in the early nineteenth century.
‘Charley’ as a derogatory term for a foolish person has survived into modern times, yet – as these photographs attest – William Anthony was unapologetic, quite content to be a ‘Charley.’ Behind him stand a long line of ‘Charlies’ stretching back through time for as long as London has existed and I think we may discern a certain dogged pride in William Anthony’s bearing, clutching his dark lantern in one hand and knobbly staff of office in the other, swaddled up in a great coat against the cold, wrapped in an apron against the filth, shod in sturdy boots against the damp and sheltered under his stout hat from the downpour.
Now I know his appearance, I will look out for William Anthony, lest our paths cross in the wintry dusk in Blossom St or Elder St – others might disregard him as another homeless old man walking all night but I shall hail him and pay my respects to the last of the ‘Charlies.’ He is the one of whom you could truly say you would be glad to meet him in a dark alley at night.



In Norton Folgate, the Watchman recorded an unbroken sequence of “All’s Well”

Tom & Jerry “getting the best of a Charley” at Temple Bar engraved by George Cruickshank, 1832

“Past one o’clock and a fine morning!” from Thomas Rowlandson’s ‘Lower Orders’

The Watchman, 1819 from ‘Pictures of Real Life for Children’

“Past Twelve O’Clock and A Cloudy Morning! & Patrol! Patrol!” from ‘Sam Syntax’s Cries of London’
“Past twelve o’clock and a misty morning! Past twelve o’clock and mind I give you warning!” published by Charles Hindley, Leadenhall Press, 1884

Watchman by John Thomas Smith, copied from a print prefixed to ‘Villanies discovered by Lanthorne and Candlelight’ by Thomas Dekker 1616. “The marching Watch contained in number two thousand men, part of them being old souldiers, of skill to be captaines, lieutenants, serjeants, corporals &c. The poore men taking wages, besides that every one had a strawne hat, with no badge painted, and his breakfast in the morning.”
Images courtesy Bishopsgate Institute
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In Search of the Relics of the Liberty of Norton Folgate

At Dr Johnson’s House
I walked over to Fleet St yesterday to pay a visit upon Dr Samuel Johnson who could not resist demonstrating his superlative erudition by recounting examples of lexicography that came to mind as he showed me around the rambling old house in Gough Sq where he wrote his famous Dictionary

House. n.s. [hus, Saxon, huys, Dutch, huse, Scottish.] 1. A place wherein a man lives, a place of human abode. 2. Any place of abode. 3. Place in which religious or studious persons live in common, monastery, college. 4. The manner of living, the table. 5. Family of ancestors, descendants, and kindred, race. 6. A body of parliament, the lords or commons collectively considered.

Acce’ss. n.s. [In some of its senses, it seems derived from accessus, in others, from accessio, Lat. acces, Fr.] 1. The way by which any thing may be approached. 2. The means, or liberty, of approaching either to things or men. 3. Encrease, enlargement, addition. 4. It is sometimes used, after the French, to signify the returns of fits of a distemper, but this sense seems yet scarcely received into our language.

To Rent. v.a. [renter, Fr.] 1. To hold by paying rent. 2. To set to a tenant.

Ba’ckdoor. n.s. [from back and door.] The door behind the house, privy passage.

Door. n.s. [dor, dure, Saxon, dorris, Erse.] The gate of a house, that which opens to yield entrance. Door is used of houses and gates of cities, or publick buildings, except in the licence of poetry.

Hábitable. adj. [habitable, Fr. habitabilis, Lat.] Capable of being dwelt in, capable of sustaining human creatures.

Time. n.s. [ꞇıma, Saxon, tym, Erse.] 1. The measure of duration. 2. Space of time. 3. Interval. 4. Season, proper time.

Stair. n.s. [ꞅꞇæᵹꞃ, Saxon, steghe, Dutch.] Steps by which we rise an ascent from the lower part of a building to the upper. Stair was anciently used for the whole order of steps, but stair now, if it be used at all, signifies, as in Milton, only one flight of steps.

Chair. n.s. [chair, Fr.] 1. A moveable seat. 2. A seat of Justice or authority. 3. A vehicle borne by men, a sedan.

Díctionary. n.s. [dictionarium, Latin.] A book containing the words of any language in alphabetical order, with explanations of their meaning, a lexicon, a vocabulary, a word-book.

A’ftergame. n.s. [from after and game.] The scheme which may be laid, or the expedients which are practised after the original design has miscarried, methods taken after the first turn of affairs.

Mystago’gue. n.s. [μυσταγωγὸς, mystagogus, Latin.] One who interprets divine mysteries, also one who keeps church relicks, and shews them to strangers.

Box. n.s. [box, Sax. buste, Germ.] 1. A case made of wood, or other matter, to hold any thing. It is distinguished from chest, as the less from the greater. It is supposed to have its name from the box wood. 2. The case of the mariners compass. 3. The chest into which money given is put. 4. The seats in the playhouse, where the ladies are placed. (David Garrick’s box illustrated)

Fascina’tion. n.s. [from fascinate.] The power or act of bewitching, enchantment, unseen inexplicable influence.

A’fternoon. n.s. [from after and noon.] The time from the meridian to the evening.

Intelléctual. n.s. Intellect, understanding, mental powers or faculties. This is little in use.

Prívacy. n.s. [from private.] 1. State of being secret, secrecy. 2. Retirement, retreat. 3. [Privauté, Fr.] Privity; joint knowledge; great familiarity. Privacy in this sense is improper. 4. Taciturnity.

Lexicógrapher. n.s. [λεξικὸν and γράφω, lexicographe, French.] A writer of dictionaries, a harmless drudge, that busies himself in tracing the original, and detailing the signification of words.

Ca’binet. n.s. [cabinet, Fr.] 1. A set of boxes or drawers for curiosities, a private box. 2. Any place in which things of value are hidden. 3. A private room in which consultations are held.

A’bsence. n.s. [See Absent.] 1. The state of being absent, opposed to presence. 2. Want of appearance, in the legal sense. 3. Inattention, heedlessness, neglect of the present object.

Work. n.s. [weorc, Saxon, werk, Dutch.] 1. Toil, labour, employment. 2. A state of labour. 3. Bungling attempt. 4. Flowers or embroidery of the needle. 5. Any fabrick or compages of art. 6. Action, feat, deed. 7. Any thing made. 8. Management, treatment. 9. To set on Work To employ, to engage.


Way. n.s. [wœʒ, Saxon, weigh, Dutch.] The road in which one travels.

Court. n.s. [cour, Fr. koert, Dut. curtis, low Latin.] 1. The place where the prince resides, the palace. 2. The hall or chamber where justice is administered. 3. Open space before a house. 4. A small opening inclosed with houses and paved with broad stones.

Cat. n.s. [katz, Teuton. chat, Fr.] A domestick animal that catches mice, commonly reckoned by naturalists the lowest order of the leonine species.

To Mew. v.a. [From the noun miauler Fr.] To cry as a cat.
Visit Dr Johnson’s House, 17 Gough Square, EC4A 3DE
As part of Huguenot Summer, Beatrice Behlen of the Museum of London will be giving a talk at Dr Johnson’s House entitled MADE ACCORDING TO THE MODE – OBTAINING CLOTHES IN EIGHTEENTH CENTURY LONDON tomorrow, Thursday 4th June at 6:30pm. CLICK HERE TO BOOK
Happy 100th Birthday, Max Levitas!
Today we salute Max Levitas, celebrated anti-Fascist campaigner & veteran of the Battle of Cable St who enjoyed his one hundredth birthday yesterday

Max Levitas became an East End hero when he was arrested in 1934, at the age of nineteen years old, for writing anti-Fascist slogans on Nelson’s Column in Trafalgar Square. “There were two of us, we did it at midnight and we wrote ‘All out on September 9th to fight Fascism,’ ‘Down with Fascism’ and ‘Fight Fascism,’ on Nelson’s Column in whitewash,” he told me, his eyes shining with pleasure, still fired up with ebullience at one hundred years of age, “And afterwards we went to Lyons Corner House to have something to eat and wash our hands, but when we had finished our tea we decided to go back to see how good it looked, and we got arrested – the police saw the paint on our shoes.”
On September 9th, Oswald Mosley, the leader of the British Union of Fascists, was due to speak at a rally in Hyde Park but – as Max is happy to remind you today – he was drowned out by the people of London who converged to express their contempt. It was both fortuitous and timely that the Times reprinted Max’s slogans on September 7th, two days before the rally, in the account of his appearance at Bow St Magistrates Court, thereby spreading the message.
Yet this event was merely the precursor to the confrontation with the Fascists that took place in the East End, two years later in October 1936, that became known as the Battle of Cable St, and in which Max is proud to have played a part – a story he tells today as an inspirational example of social solidarity in the face of prejudice and hatred. And, as we sat in a quiet corner of the Whitechapel Library, watching the rain fall upon the street market outside, it was a story that I was eager to hear in Max’s first hand account, especially now that he is one of last left of those who were there.
Politics have always been personal for Max Levitas, based upon family experience of some of the ugliest events of the twentieth century. His father Harry fled from Lithuania and his mother Leah from Latvia in 1913, both escaping the anti-semitic pogroms of Tsarist Russia. They met in Dublin and married but, on the other side of Europe, Harry’s sister Sara was burnt to death along with fellow-villagers in the synagogue of Akmeyan, and Leah’s sister Rachel was killed with her family by the Nazis in Riga.
“My father was a tailor and a trade unionist,” Max explained in the lively Dublin brogue that still colours his speech today, even after more than eighty years in the East End. “He formed an Irish/Jewish trade union and then employers blacklisted him, making sure he could never get a job,” Max continued with a philosophical grin, “The only option was to leave Dublin and we lived in Glasgow from 1927 until 1930, but my father had two sisters in London, so we came here to Durward St in Whitechapel in 1931 and stayed ever since.”
With this background, you can appreciate the passionate concern of Max – when he was nineteen and secretary of the Mile End Young Communist League – at a time when the British Government was supporting the Fascist General Franco in the Spanish Civil War. “Even after Hitler was appointed Chancellor in 1931, the British Government was developing arms with Germany,” Max informed me, widening his eyes in condemnation and bringing events into vivid reality that I had viewed only as history until he filled them with personal emotion.
“I was working as a tailor’s presser in a small workshop in Commercial St at the time. Mosley wanted to march through Whitechapel because it was where a large number of Jewish people lived and worked, and I knew the only way to stop him was to have unity of the people. I approached a number of unions, Jewish organisations and the Communist League to band together against the Fascists but although they agreed what I was doing was right, they wouldn’t support me.
But I give credit to the huge number of members of the Jewish and Irish communities and others who turned out that day, October the fourth, 1936. There were thousands that came together in Aldgate, and when we heard that Mosley’s intention was to march along Cable St from Tower Hill into Whitechapel, large numbers of people went to Cable St and barricades were set up. The police attempted to clear Cable St with horses, so that the march could go ahead, but the people of Cable St fought back and the police had to give in.
At three o’clock, we heard that police had decided that the march would not take place, because if it did a number of people would be killed. The Fascists were defeated by the ordinary people of Stepney, people who emptied buckets of water and chamber pots out of their houses, and marbles into the street. This was how they stopped Mosley marching through the East End of London. If he had been able to do so, more people would have joined him and he would have become stronger.”
Max Levitas spoke of being at the centre of a definitive moment in the history of the East End, nearly eighty years ago, when three hundred thousand people came together to form a human chain – in the face of three thousand fascists with an escort of ten thousand police – to assert the nature of the territory as a place where Fascism and racism are unacceptable. It was a watershed in resistance to Fascism in Europe and the slogan that echoed around Stepney and Whitechapel that day was, “No paseran” – from the Spanish Civil War, “They shall not pass.”
After the war, Max became a highly respected Communist councillor in Stepney for fifteen years and, a natural orator, he remains eloquent about the nature of his politics.“It was never an issue to forge a Communist state like in the Soviet Union,” he informed me, just in case I got the wrong idea,“We wanted to ensure that the ordinary working people of England could lead decent lives – not to be unemployed, that people weren’t thrown out of their homes when they couldn’t pay their rent, that people weren’t homeless, as so many are today, living with their parents and crowded together in rooms.”
Max’s lifelong political drive is the manifestation of a tenacious spirit. When Max arrived in Whitechapel Library, I did not recognise him at first because he could pass for a man thirty years younger. And later, when I returned his photos to his flat nearby, I discovered Max lived up five flights of stairs and it became obvious that he walks everywhere in the neighbourhood, living independently even at his astounding age. “I used to smoke,” Max admitted to me shyly, when I complimented him on his energy.” I stopped at eighty-four, when my wife died – until then I used to smoke about twenty cigarettes a day, plus a pipe and cigars.” Max confessed, permitting himself a reckless grin of nostalgia.
“My mother and father both died at sixty-five,” Max revealed, turning contemplative,“I put that down to the way they suffered and poverty. My father worked around the clock to keep the family going. He died two years after my mother. At that time there was no National Health Service, and I phoned the doctor when she was sick, asking him to come, and he said, ‘You owe me some money. Unless you pay me, I won’t come.’ I said, ‘You come and see my mother.’ He said, ‘You will have to pay me extra for coming plus what you owe.’ But she died before he came and I had to get an ambulance.”
It was a story that revealed something more of the personal motivation for Max’s determination to fight for better conditions for the people of the East End – yet remarkably, in spite of the struggle of those around him and that he himself has known, Max is a happy man. “I’m always happy, because I can say that my life was worth living, ” he declared to me without qualification.
Max Levitas wants to live as long as possible to remind us of all the things he has seen. “I believe if racists marched through the East End today, people would stop them in the same way,” he assured me with the unique confidence granted only to those who have known one hundred years of life.



Max in 1945.

Max campaigning in Stepney in the nineteen sixties.



Max with his wife on a trip to Israel in the nineteen seventies.

The Cable St mural
Portrait of Max Levitas copyright © Phil Maxwell
You can hear Max Levitas talking about the Battle of Cable St by clicking here
Watch original footage of the Battle of Cable St here
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Lucinda Rogers In Tottenham

Under a Mercedes
Contributing Artist Lucinda Rogers draws on location, making her atmospheric detailed pictures with ink, crayon and watercolour, to capture the drama of workplaces and record these parts of London that are seldom seen except by those who are employed there.
She has accumulated a portfolio of large bravura drawings – from which these pictures are selected – recording the workshops, yards and factories of the trading, repair and small manufacturing companies in Peacock Estate, White Hart Lane, Tottenham, currently threatened by redevelopment as part of Haringey Council’s programme of “restructuring the borough’s employment land portfolio.” Just as in the East End, these plans put active businesses at risk and jeopardise local jobs for the sake of high-density housing developments – a short-sighted policy that has been summarised as, “London is eating itself.”
Lucinda Rogers’ exhibition entitled EMPLOYMENT LAND PORTFOLIO opens today at Heyne Tillett Steel, 4 Pear Tree Court, Clerkenwell, EC1R 0DS and runs for one week until next Sunday 7th June, as part of London Festival of Architecture.
DW General Wood Machinists (Click this image to enlarge)
Santwynn Garment Manufacturers (Click this image to enlarge)
Fausto using a Capstan lathe, Archway Sheet Metal Works (Click this image to enlarge)
Pressers at Santwynn Garment Manufacturers (Click this image to enlarge)
DW Timber Supplies (Click this image to enlarge)
Making Doner Kebab Grills at Archway Sheet Metals (Click this image to enlarge)
Britannic Auto Transmissions (Click this image to enlarge)

Roy’s Tyres

Peacock Estate
Drawings copyright © Lucinda Rogers
Lucinda Rogers exhibition is open Monday – Friday from 11am until 5:30pm, and on Saturday and Sunday from noon until 4pm.
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At The Fan Museum

The Fan Museum in Greenwich is the brainchild of Helene Alexander who has devoted her life with an heroic passion to assembling the world’s greatest collection of fans – which currently stands at over five thousand, dating from the eleventh century to the present day.
In doing so, Mrs Alexander has demanded a reassessment of these fascinating objects that were once dismissed by historians as mere feminine frippery but are now rightly recognised as windows into the societies in which they were made and used, and upon the changing position of women through time.

Folding fan with bone monture & woodblock printed leaf commemorating the Restoration of Charles II. English, c. 1660 (Helene Alexander Collection)

Folding fan (opens two ways) with ivory monture. Each stick is affixed to a painted palmette. European (probably French), c. 1670s (Helene Alexander Collection)

Ivory brisé fan painted with curious depictions of European figures. Chinese for export, c. 1700(Helene Alexander Collection)

Ivory brisé fan painted in the style of Hondecoeter. Dutch, c. 1700 (Helene Alexander Collection)

Folding fan with bone monture. The printed & hand-coloured leaf has a mask motif with peepholes. English, c. 1730

Folding fan with ivory monture, the guards with silver piqué work. The leaf is painted on the obverse with vignettes themed around the life cycle of one man. European (possibly German) c. 1730/40 (Helene Alexander Collection)

Folding fan with ivory monture & painted leaf. English, c. 1740s (Helene Alexander Collection)

Folding fan with ivory monture & painted leaf, showing Ranelagh Pleasure Gardens. English, c. 1750s

Folding fan with wooden monture & printed leaf, showing couples promenading. French, c. 1795-1800 (Helene Alexander Collection)

Folding fan with gilt mother of pearl monture & painted leaf, signed ‘E. Parmentier. ’ French, c. 1860s

‘Landscape in Martinique’, design for a fan by Paul Gauguin. Watercolour & pastel on paper. French, c. 1887

Folding fan with blonde tortoiseshell monture, one guard set with guioché enamelling, silver & gold work by Fabergé. Fine Brussels lace leaf. French/Russian, c. 1880s (Helene Alexander Collection)

Folding fan with smoked mother of pearl monture, the leaf painted by Walter Sickert with a music hall scene showing Little Dot Hetherington at the Old Bedford Theatre. English, c. 1890

Folding fan with tortoiseshell monture carved to resemble sunrays. Canepin leaf studded with rose diamonds & rock crystal, & painted with a female figure & putti amidst clouds, signed ‘G. Lasellaz ’92’. French, c. 1892 (Helene Alexander Collection)

Folding fan with horn monture & painted leaf, signed ‘Luc. F.’ French, c. 1900

Folding fan with ivory & mother of pearl monture, the painted leaf, signed (Maurice) ‘Leloir.’ French, c. 1900 (Helene Alexander Collection)

Folding fan with mother of pearl monture & painted leaf, signed ‘Billotey.’ French, c. 1905 (Helene Alexander Collection)

Horn brisé fan with design of brambles & insets of mother of pearl. French, c.1905 (Helene Alexander Collection)

Folding fan with Art Nouveau style tinted mother of pearl monture & painted leaf, signed ‘G. Darcey.’ French, c. 1905 (Helene Alexander Collection)

Folding fan with tortoiseshell monture & feather ‘marquetry’ leaf. French, c. 1920
Visit The Fan Museum, 12 Crooms Hill, Greenwich, SE10 8ER
As part of Huguenot Summer you can visit the Fan Museum in the company of Curator Jacob Moss on July 13th
From The Warner Textile Archive
Kate Wigley of the Warner Textile Archive in Braintree will be giving a lecture on The Royal Silks of Spitalfields on Tuesday June 9th at 7pm as part of Huguenot Summer in the newly-refurbished Hanbury Hall in Hanbury St. Here are a selection of images from the archive, which owes its origin to the collection of Warner & Sons – a family textile business that was founded by Benjamin Warner in Spitalfields and moved out to Braintree in 1892.

Mr Bunn & Mr Wheeler, weavers that moved from Hollybush Gardens, Bethnal Green, to New Mills in Braintree in 1895

Design by Anna Maria Garthwaite of Spitalfields

Spitalfields hand woven silk, c. 1743


Loughton Border Rulepaper, 1902

Rose Shamrock and Thistle – paper design by Arthur Silver for Princess May, 1891

Rose, Shamrock and Thistle, hand woven silk

Windsor border trials

Jasmine – hand woven silk and gold – for Princess Mary’s intended wedding to Duke of Clarence

Design by Arthur Silver for Princess May, 1894

Hand woven silk for Windsor Castle

Farringdon, hand woven silk with gold and silver

Rose, Shamrock & Thistle, 1880 – 1890, then rewoven for Buckingham Palace, 1923

Reville, hand woven silk with gold and silver for Queen Mary’s coronation

Benjamin Warner (1828-1908)
Images copyright ©Warner Textile Archive
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At The House Mill

The House Mill of 1776 at Bromley by Bow is the largest tidal mill in the world and the only remaining mill at Three Mill Island on the River Lea, an artificial island created in ancient times – like Venice – by driving thousands of wooden stakes into the mud, for the purpose of harnessing the powerful tidal surge of the Thames. Daniel Bisson, a Huguenot, built the House Mill for grinding grain to bake bread and the manufacture of gin to supply London, and it functioned here until the end of World War II, before falling into disrepair.
Twenty-five years ago, William Hill saw the derelict mill from the train and came to explore. He became one of a group of committed volunteers who have been responsible for overseeing the magnificent restoration programme of recent years, and it was he who showed me round this week. We spent a couple of hours, climbing up and down ladders, and exploring every corner of the huge old mill, including those parts not open to visitors – enabling me to create this photographic record.


Initials of Daniel Bisson, builder of the mill, and his wife Sarah

View down the River Lea




Some of the beams at House Mill are one hundred foot long and may be recycled ships’ timbers








Nineteenth century wooden patterns for casting the machinery of the mill




Stretcher frames from World War I

Hopper where the grain was channelled down to the mill stones




The oasthouses and the clock mill

The Miller’s staircase

Millstones







Pegs where the millers hung their coats

Mill worker in the nineteen thirties

The same spot today

Iron frames for the nineteenth century mill wheels



The Clockmill
Visit The House Mill, Three Mill Lane, Bromley by Bow, London E3 3DU
Volunteers are always required to act as stewards, guides and to run the cafe at the House Mill. If you would like to help, please contact info@housemill.org.uk























