Walking the streets of Amsterdam, you are entranced by the stunning architecture that sprawls around you. Few cities in the world have such an incredible collection of preserved buildings. And it seems that no matter where you look, little hidden secrets are hiding around every corner. One of those secrets, unique to only a few cities, is Amsterdam’s Gable Stones. These gable stones are intricately carved and often colourfully painted tablets that mark entrances to buildings across the city. embedded into the historical architecture of Amsterdam. Since Amsterdam is such a well-preserved ancient city, these relics of a bygone age have been saved for future generations.
I first discovered these gable stones while walking along the Bloemgracht in the Jordaan Neighbourhood. When I saw the first one, it piqued my interest to look for more, and soon I started to see that almost every other house I passed had these beautiful stone plaques above their doors. Each gable stone portrays a different character, symbol or scene. Delving into the histories and meanings behind the buildings they are housed within. I immediately wanted to know the importance of each one, seeing them as a clue into the family that once lived here.
After my research, I wanted to create this in-depth post to give you some insight into these incredible treasures of Amsterdam’s architectural past. You can find these gable stones all over the city. And spotting them can be somewhat of an eye-spy adventure. I have marked some of my favourite spots and streets where you can discover the best collection of Amsterdam’s historical gable stones. Some come with me now on our Alternative Amsterdam Walking Tour, the Hidden Secret of Amsterdam’s Gable Stones.
Long before house numbers were the primary method of finding your way around the city, gable stones (or gevelstenen in Dutch) denoted a homeowner’s name or business’s purpose. Many people were illiterate then, so these illustrative signs also served a very functional purpose. In the 16th century, if you were looking for a cobbler, you’d look for the gable stone with a shoe. If you were looking for a tavern, you’d search for a barrel. But there are also much more profound, symbolic meanings to these gable stones. Some contain metaphors, puns and, of course, religious imagery. Each one relates in some way to the history of the homeowners. It’s a fascinating way of getting to know more about the city’s history.
2,500 of these stones can still be found in the Netherlands. And 850 of these stones can be found in Amsterdam alone. In the 19th century, Amsterdam officially employed a numbering system for their streets and houses, and the gable stone fell out of fashion. But in recent years, they have come back into fashion, and new gable stones have been created to bring back modern-day heraldry.
This tour will be primarily located in the Haarlemmerstraat and Jordaan neighbourhoods. We start our tour along Haarlemmerplein and Haarlemmerdijk. The Haarlemmerplein was originally where the city’s horses and wagons would be parked at the city gates. Today, Haarlemmerdijk is one of the most charming streets in the city. Blending modern shops and historic homes together in one trendy area.
The gable stone found at #4 Haarlemmerplein is located high above the third-floor windows. But even from afar, the golden gilding glints in the sunlight. This stone features a great tortoise and is one of the more modern plaques. The owner, Betty Ramaekers and Klaas Helder had this gevelstenen designed especially for them. Since tortoises always carry their house with them, they are symbolic of the importance of the home. The owners bought the property in 1985, and the date of the purchase is etched onto the stone.
The stone tablet at #109 Haarlemmerdijk is an excellent example of a gable stone’s relation to the resident’s heritage. The house was built for Lady Sluis in 1730. Lady Sluis was originally from Zwartsluis (a Dutch province of Overijssel), and although she had been married off and moved to Amsterdam, she still had a great love for her hometown. So she had the cityscape of Zwartsluis etched onto her gable stone. The 17th-century Reformed Church of Zwartsluis is the central feature of the landscape. But other memorable images of her home are also presented to the public. Like boats coming to shore or birds flying over the horizon. Every time she would return home, she would be met with this image, a beautiful memory of her beloved town.
From here, let’s head down Binnen Dommersstraat towards the house at #13. The shop on the corner is home to one of the most incredibly detailed stone gables in the city. But it is also a delightful bakery that has served this community for over 300 years! As such, it seems appropriate that the image they chose for their relief was from the Gospel of John, when Jesus produced the miracle of multiplying loaves for the hungry masses.
The bakery is now a trendy coffee shop called Toki, which still serves up tasty baked goods. The perfect place to take a break with a warm cup of coffee and a sweet treat.
Right across the street from Toki, at #116 Vinkenstraat, is a stone gable that dates back to 1768. A large white pelican spreads its wings against a pale blue background, looking down at its young babies sitting in a nest below. At first glance, the babies appear to be drinking drops of blood dripping down from the breast of their mother. And in 1768, that is exactly what people thought baby pelicans did eat. Many thought a mother would pierce her own breast to feed her young because that’s what it looked like to the naked eye. But in reality, the pelican is actually reaching into their bill, where they keep fresh fish, and this is actually what the babies eat.
But ancient Europeans didn’t take biology in school. So they could only make assumptions from what they saw. From this legend, the pelican because a symbol of self-sacrifice and charity. Some apparently even believed that the pelican could bring its deceased young back to life by giving them its blood leading many to draw a comparison between the pelican and Jesus, who gave his blood to his followers. So anytime you see a pelican, this often will be associated with a religious place or someone who was devoted to god.
Continue east along Vinkenstraat and back to Haarlemmerdijk until you reach #98. I adore this little scene above the doorway to #98 Haarlemmerdijk. This tablet shows a shepherd casually lounging on the hillside, looking after his flock of sheep. His trustee dog, with his back, turned to the viewer, is intently watching the sheep. The etching was carved by famed Dutch painter Nicolaas Berchem. Berchem was a popular painter during the Dutch Golden era and was best known for these types of pastoral landscapes.
Originally the house marked the entrance to #101, but when that house was set to be demolished and turned into a post office, the tablet was removed. It was kept safe, and when the time came to reinstall, it was moved to #98.
Above the most darling Fleurmonde flower shop is a beautifully painted nautical frieze. It features what looks like a big blue fish. But upon closer inspection, it is actually a large porpoise. The porpoise is diving down into choppy waters. Perhaps swimming during a great storm. During the middle ages, porpoises were known to be spotted swimming in the canals in Amsterdam. And while they are rarely seen today, there have been a few spottings as recent as 2020, when the boat traffic in the canals died down due to Covid-19. Two dolphins are seen carved on either end, framing the entire scene. Another nod to the nautical nature of the city.
At #33, you can see an old stone relief dating back to 1740! It depicts Jupiter, also known as the Greek God Zeus. You know it’s him not only by the icons in the scene but also by the huge “Jupiter” lettering on the bottom of the carving. Jupiter is nude but wrapped in a large swathe of fabric. He holds a bundle of lightning bolts in his hand, a stern look on his face. The position of his arm makes it look like he is ready for battle. Jupiter’s trustee eagle sits peacefully at his feet. Jupiter is associated with healing, good fortune, and miracles, so we might imagine that perhaps a healer or apothecary once stood here.
Crossing over the large bridge, we head into the eastern part Haarlemmerstraat. As someone who loves astrology, the house at #107 really spoke to me. You’ll see cheerful dancing figures in the upper right corner above the doorway. These little cherubs are holding two black-painted symbols in their hands. These represent the zodiac signs for Cancer and Taurus. But the two children, with identical faces, also represent the zodiac sign of Gemini. It’s safe to assume that these symbols relate to the birthdates of the children or the couple who lived in this house.
Let’s take a quick detour north along Buiten Brouwersstraat to #20. The incredibly detailed stone relief depicted here features a huge, three-mast ship. The name “TS Chip China” is emblazoned on the bottom of the tablet. Since we know the entire name of the ship, we know a fair bit about it. It was built in 1676 for the Dutch East India Company. Despite the name, the boat mainly travelled to what is now modern-day Jakarta in Indonesia. Perhaps one of the ships’ captains once resided in this grand house.
Take a short detour south along Binnen Brouwersstraat to #2. This adorable stone tablet features this enormous beaver, chewing on a tree almost to the point of falling in half. Yet, we are catching him at the moment just before he achieves his end goal. The wording under the tablet says “Castor Tenax 1993,” which translates to “the persistent beaver.”
But the date on the tablet is also of great importance. The entire concept for the gable’s design refers to the tumultuous process of renovations the poor owner undertook when he bought the property in 1990. His aim was to move right in. But he was met with problem after problem. First, a large fire. And then many long and arduous delays in the repairs required and remodelling. The building wasn’t deemed livable until 1993. Three long years after his initial purchase! But he never gave up, just like our persistent little beaver who kept working hard. To eventually achieve its goal.
Head back to the Haarlemmerstraat and walk until you reach the impossibly narrow building located at #66. The stone gable above the doorway is as wide as the door. It features a shield with the image of a red lion rearing up on its hind legs. Above the lion is a red crown sitting atop the shield. But this is not a king’s crown, but a duke’s. If you look closely, you can see the fur edging around the brim of the crown made from the hair of a stoat. The words under the crest state that this is the coat of arms of the province of Limburg.
But curiously, we know this tablet to date back to the 17th century when the coat of arms of Limburg was only established in 1886. Before there was Limburg, there were the Lords of Gulik, whose lands would go on to be the south of Limburg, and this was their crest. Today, if you look at the official, you can still see the red lion incorporated into the design of the larger four-cornered shield, representing each part of the province.
Continue north until you reach the island’s edge. From here, walk east along Haarlemmer Houttuinen, which turns into Droogbak street. Here we will stop at #16. The gorgeous sculpted carving on the curved stone plinth is one of the most intricate designs in the city. It was made in 1742 for compass maker Pieter de Jong. Look closely, and the carving features a large compass on a decorative wooden plinth. Amsterdam was a hub for shipbuilders and skippers. A good repair shop close to the harbour was an important feature of the city.
On either side of the compass are two hourglasses. Hourglasses were invented around the 12th century. They were a key feature of a sailing ship as they were used onboard to help time the ship’s watches. A ribbon above the entire piece has the name of the compass maker emblazoned upon it.
Head back south to Haarlemmerstraat and make a stop at #59. Above the second-floor window is a gorgeous shield with an array of flowers and foliage exploding from behind it. In the centre of the shield is a large crowned stork. He stands with his one leg raised and a large eel caught in his beak. The stork crest was installed around the 16th century to symbolize good luck. Often good luck symbols were popular icons to put on the houses of sailors to ensure they returned home unharmed.
The name “Binnen Vissersstraat” is Dutch for Fishing street. It was named as such because this roadway ends at the mouth of the canal. From this street, fishermen would bring in their day catch and take it to the marketplace.
Turn south down Binnen Vissersstraat, where at #4 you’ll find a funny stone plaque. The tablet depicts the very house you are standing in front of. Beside the house is a large green tree. Look closely, and you’ll see gold coins growing from the tree and a man collecting the coins in a wheelbarrow below. The tablet was designed in the 1980s during the restoration of the house. The restoration was a costly one. To make light of the situation, the owner had this stone gable designed to reference the fact he wished “money grew on trees.”
At #9, we see an even more modern design, made in 1997 for Barbara Jonckheer when she retired. Jonckheer was an essential figure in the Amsterdam Bureau of Conservation. Her efforts to restore and conserve art throughout the city was her life’s work. And although you might not know her name, so many historical buildings that you will admire along the way no doubt have been touched by her in some way. The image of a stately young spire, bowing with his feathered cap, is a way of showing reverence for the great woman.
Turn down Brouwersgracht and head back west. Gracht is the Dutch word for Canal, and Brouwers means brewery. The name came from the 16th century when this area of town was home to many beer, gin and liqueur breweries. Many houses along this street still have their large wooden shutters, which identified the homes as warehouses back in the day. The Brouwersgracht was voted the most beautiful street in Amsterdam, so take in the sights as we walk along.
At #52 Brouwersgracht, we find the old home of furniture designer Andries Tenck. Tenck bought the house in 1759, as indicated on the stone gable. The tablet depicts how this ingenious chair-maker could turn a simple wooden piece of furniture into an extravagant fantasy. Below the Louis XV-style chair on the right are the words “nooyt volmaakt” which means “never perfect.” A classic moniker of artists who are never happy with their work. Such is the plight of the creative.
Make a quick detour up Binnen Wieringerstraat to see the house at #28. De Visser is the inscription underneath the gable, which translate to, “the Fisherman.” And right there on the front, we can see an 18th-century fisherman dressed in traditional gare. He is seen holding a large fishing spear in one hand and his catch of the day in the other. In the foreground stands two stacks of barrels on either side and a smoking pot on the right. But how could a lowly fisherman buy a house such as this? Well, the answer lies in the contents of the barrels. The answer? Whale blubber.
Whaling in the Netherlands began in the 17th century when the Dutch discovered the artic fishing grounds. At the industry’s peak, about 25% of ships in the Dutch fleet were whaling vessels. Whale oil was hugely profitable in the 17th and 18th centuries, as they could derive whale oil from the fat in the mammal’s body. Before electricity, oil lamps were the only way people could light their homes, street lamps and stoves. So oil was like gold dust. While you could get oil from livestock, it stank and produced thick smoke, while whale oil, on the other hand, burned bright and clear! Whale oil is made by boiling strips of blubber harvested from whales. And this is exactly what is depicted in the stone gable on the front of the house. What a story!
Back along Brouwersgracht, make your way to #76. You’ll need to look down to see the stone tablet above the basement door. Unlike the other on this tour, which is usually above the front door, this one is a little more hidden away.
The scene depicts the various stages of making wine. On the left side of the frame, the grapes are plucked from the vines, then in the centre, we can see someone stomping the grapes with their feet inside a large barrel. The last vignette depicts the wine poured from the barrel into a glass. Ready to be enjoyed by the public! As we are back again on Brewery street, this is a good indication that this building would have once been a wine distillery. I love the design of this carving. It feels very stylized and different from everything else we’ve seen.
The gevelstenen at #114 Brouwersgracht is unique because it is three-dimensional. It literally jumps out at us from the facade of the old brick building. The brightly painted blue and red emperor’s crown is flanked by the warehouse’s black wooden shutters.
In the 15th century, even though Amsterdam was just a fishing village, the emperor awarded them the right to use the emperor’s crown. Having the right to use the emperor’s crown was a big deal, as it acted as a means of showing you were protected by the emperor and his army. Amsterdam was given the right to use the emperor’s crown thanks to the large amounts of money it loaned Emperor Maximillian I during the Hook and Cod wars in the 15th century. They might have just been a fishing village, but fishing brought in money, and the merchants who traded in fish brought vast amounts of gold.
Cross over the Papiermolensluis to reach the opposite side of the canal. From here, you can make your way to #133 Brouwersgracht. Of all the animals you might imagine seeing depicted in Amsterdam, a hippo would perhaps be the last of your guesses, and yet here it is! In fact, the inscription beneath the stone carving states that this is “the hippo in the canal.“
Jan Joost Peskens was the house’s first occupant and was obsessed with hippos. In his early childhood, he had read all about them in a book by biologist Hillenius. To Peskens, they seemed like mythological creatures and yet somewhere out there, they were real! His love for the hippo never wained, and for this birthday, after purchasing the house, his wife had this stone gable made special for him. It was unveiled on the big day, and even though he might never see a real hippo himself, he would be greeted by this friendly face every day upon his return home.
On the corner of the house at #163 Brouwersgracht, you can find the sign from an old grainery that once stood here. The grainery was built in 1729, and although the original building has been demolished, the house sign has been preserved. In the carving, you can see the process by which people would come to buy their corn and grain. They would fill up this wooden barrel with grains and then use the attached metal bow to smooth and level the grain on top. Ensuring each measure of grain was properly levelled, and each barrel load contained the same amount. Pretty ingenious invention for the 16th century.
Make your way west along Palmgracht. The Palmgracht, also known as the Palm Canal, was once waterfilled before the 1850s. During those years, many of the Jordaan neighbourhood canals were filled in due to the poor water quality and the need to create more livable space for the increasing population. The name “palm canal” is odd as palm trees could never grow here in Amsterdam. But Dutch sailors and merchants who worked in the Indonesian Dutch colonies had come to adore the beauty of these fantastic plants. And although they couldn’t bring them home with them, their love of the tropical plant lived on.
This is exemplified at #3 Palmgracht, where a palm tree is represented in the stone gable. The palm tree was not just a beauty to look at but also a plant that could thrive against all odds. Not wind, nor drought or even the greatest of storms could destroy the mighty palm. So many people use the palm tree as a symbol to represent triumph over adversity.
Towards the street’s western end, you’ll find stone gables aplenty. At #60, we can find the two golden nightingales. The nightingale is frequently associated with creativity and related to nature’s purity. The tablet was added around the 20th century when the house was owned by architect E. Van Houten. Undoubtedly, creativity and mother nature’s inspirations are important to architects and perhaps why Van Houten selected the nightingales as his house emblem.
At #68 Palmgracht, we find the brilliant image of the Hindu creature Rakshasa. Rakshasa is a mythological demon or goblin. Rakshasas have the power to change their shape at will and appear as animals, monsters, or in the case of female Rakshasa, as beautiful women. Many immigrants to Amsterdam came from Dutch Indonesia. And they brought with them their vibrant culture and history. This Rakshasa was designed to replicate the one embedded in the front of the medieval palace of Singosari, twelve kilometres north of the Indonesian city Malang.
Be sure to get up close and personal with the carving to make out all the tiny details in the sculpture. You can see the little faces hiding within the Rakshasa’s headdress. She sits with one hand projecting outwards towards the street. The Rakshasa bares her fangs and holds a large club in her other hand. She looks quiet and menacing. These symbols were often placed outside the home in order to protect it from evil.
Cross the street and head over to #63 Palmgracht. This house bears one of the oldest stone tablets in the city. De Blom Kool, or the “Flowering Cabbage” tablet, was installed here in 1679. Willem Harmensz Kool owned the house and worked in the Waag as a weight-bearer. In the 17th century, numbers #61, #63 and #65 all contained the same cauliflower symbols, but today this is the only one that remains. The cabbage was his house emblem, as “Kool” means cabbage.
The Waag was the “weigh house” and was originally a city gate and part of the walls of Amsterdam. A weigh house did literally what it sounds like, weighing out various goods brought into the city, which required taxation. And Kool, as a weight-bearer, was charged with ensuring all taxes were paid in full.
At #73, you’ll find the House of the Radishes. Another vegetable-themed house! But unlike the previous house with a history dating back hundreds of years, this home’s gable was designed in 1973. The owner loved the song ‘The Radish waltz,’ written and sung by Louis Davids. And when the house was renovated in 1973, they added this vibrant new gable onto the brick facade.
Take a walk south along Lijnbaansgracht, beside the scenic canal. Continue along until you reach Lindengracht.
At #211 Lindengracht is where the 17th-century residents of Amsterdam would have come to purchase their tobacco. The business was marked by this stone plaque featuring an enslaved man holding a large tobacco leaf in his hand. On the ground are three rolls of tobacco, and in the background, we can find two woven baskets used to harvest the tobacco leaves. During the 17th century, they called this stone gable the “Tobacco Moor.” But the term Moor is now considered a derogatory word applied to dark-skinned Muslims of North Africa. These men were enslaved by the Dutch Europeans and used to farm the tobacco fields. And while the Netherlands banned the slave trade in 1814, memories of their cruelty remain etched on the stones of the street even to this day.
Above the door to the old cafe on the corner of Lindengracht and Tweede Goudsbloemdwarsstraat is the most splendid little vignette carved above the portal. Unlike the other tablets made of stone, this piece is made of wood. And miraculously, has been preserved here since the 18th century. It marked the entrance to an old wine cellar, as seen in the carving by stacks of barrels lining the left side of the frame. The most curious and wide-eyed cat looks out towards us on the right side, hiding among the vine of plump grape trees. Cats are often used as symbols of femininity. Many people interpret this as a sign that in here this establishment the woman was the one truly in charge!
Recently the stone tablet on #73 Lindengracht has been restored to its former glory. This house was a former blacksmith shop in the 19th century. Marking the spot is the stone tablet showing a suspended horseshoe. The horseshoe is the most iconic symbol of the blacksmith. The word for blacksmith is written in Dutch below the horseshoe. The large black arched doorways on either side of the lower level are also clear signs of an old horse barn once being here. Large doors were required to provide access to the horse and carriages, which often would come here to be repaired, just like taking your car into the auto shop!
Above the doorway to #55 is a stone gable featuring a great green tree. But instead of bearing fruit like apples or pears, hanging in its branches are silver painted fish swimming amongst the leaves. Just below the swimming fish is a nest, but within it, a bundle of eels instead of birds. Almost unsurprisingly, the plaque was designed in the acid-riddled 1970s. Even the text below the icons is subverted, written backwards, only to be read with a mirror.
But the scene isn’t derived from a drug-induced dream. Instead, it is a reference to a famous historical event, the Palingoproer, which occurred here along these canals in 1886. The Palingoproer or ‘the Eel riot‘ started when the police attempted to stop the Jordaan neighbourhood’s citizens from playing their favourite eel-pulling game. Eel pulling was an old Amsterdam pastime where a rope was stretched over the canal, and a live eel was hung from it. Players had to sail their boats underneath the rope to try and grab the slippery eel without falling into the water.
The game was deemed as “cruel public entertainment” by the government of the time, and the police went to put a stop to it. None of the authorities could have imagined just how popular this event was, and just for fiercely the people of Amsterdam would fight to preserve their right to go eel-pulling. When the police started to force spectators to disperse, a riot broke out. In the fighting, 26 people were killed by police. The fish and eels in the gable stone here are meant to commemorate the uprising. And perhaps remind the authorities of just how important culture is to the Dutch people, no matter how silly or frivolous.
Above the windows at #53 Lindengracht is the gable of Barend Wargaren. Wargaren lived here in 1742. The name “Warren” means “war of yarn,” and the image we see depicted in the stone plaque is the allegory based on the name. On the left is a monkey sitting at a spinning wheel with the help of a small dog who aids him on the twisting wheel. On the right sits another monkey on a stool. He also tries to twist a yarn spool, but he uses a wooden reel.
Although the monkey on the right looks like he has spun more wool onto his spool, his method creates a weaker product. You twist two or more single threads together by using the twisting wheel and spinning wheel together, thus creating a stronger yarn. This takes more time, but diligence will always win the war over foolish haste. That is the moral of the story.
At #5 Lindengracht we find a stone tablet featuring the most iconic symbol of the Netherlands; the windmill. On either side of the mill are two bundles of yellow stacks of wood awaiting their turn to be sawed inside. Before the 19th century, Amsterdam, and this canal in particular, was home to dozens of small wind-powered sawmills. Back then, this area of town wasn’t a hub of residential living. This area once lay behind the city walls and was considered the rural outskirts. Therefore, it was common to have windmills along the ramparts as it was a halfway point between farmer’s fields and the city’s marketplaces where milled wood could be sold.
The Prinsengracht is a regal canal named after the Prince of Orange. It is the fourth of the four main canals belonging to the famous canal belt. And as such many of the houses along this canal are some of the most beautiful.
The soaring facade at #36 Prinsengracht is a stunning example of the best elements of Amsterdam’s iconic architecture. One of these characteristics is the beautiful neck-gable roof ornaments in many Dutch canal houses. Also displayed on the facade of the house are “oeils-de-boeuf” windows. These windows, also called “ox eye” windows are small round windows that flank either side of the attic that resemble the eyes of an animal looking down on the city below. The fantastical house dates back to 1650, as marked on the stone carving towards the top of the house.
Above the 3rd floor is where we can find our stone tablet, which depicts a rich blue sack filled with white feathers. In the 17th century, the house went by the name ‘als daer De Veersack in de gevel staet,’ which means, “there where the feather sack is in the façade.” The building was initially used as a feather bed warehouse during the 17th and 18th centuries. After closing down, it was later used as a sugar and chocolate factory.
On the front of the house at #60 is a simple oblong stone depicting an upside-down bowler hat. It even has the words “BOLHOED,” meaning bowler hat, written on the sign. The building was previously home to a vegetarian restaurant named “De Bolhoed,” but it has since closed down. Hopefully, a new restaurant will move in and keep the bowler head name going!
Turn west along Tuinstraat until you reach #46. At this house was where you could once have come to buy your soap. On the 17th-century gable stone, you can read the inscription that says, “IN DE ASWERCKER,” which means “In the ashes-worker. Carved into the stone gable is the image of a worker, piling up a series of large copper barrels. But what do ashes and barrels have to do with soap? Well, I’m glad you asked!
Inside these barrels, the soapmaker would have stored Potash. Potash is made from plant or wood ashes that have been soaked in a “pot” of water. Potash is one of the most ancient ways of making soap, a technique that dates back to the Bronze age. Ashes were transformed into lye, which is still to this day a key ingredient in soap-making. In the sixteenth century, the Dutch were one of the largest soap suppliers and consumers. And the warehouses all along this stretch of roadway would have been used to produce these sought-after products.
Walk one street south to find yourself walking along Egelantiersstraat. ‘Egelantiers‘ was a chamber of rhetoric, also known as a dramatic society, that rose up in this area of Amsterdam in 1517. The symbol for the organization was the Eglantine Rose or Sweet Briar Rose in the shape of a cross. It was a symbol of love, and their slogan was “In Love, Flourishing.” It’s no surprise to find an actor enamoured with romance, but the actual reference to the rose was from a beloved poem by Beatrijs. In this poem, two young lovers meet secretly by the wild roses.
These dramatic societies were closely connected with political leaders. Even back then, the government saw how theatre could be an instrument of propaganda and worked with the groups as an early form of public relations for the city. Many of the stone tablets on these streets are very dramatic, inspired by the theatrical movements in this part of the city.
As we’ve mentioned before, not everyone could read back in the middle ages; that’s why we have these stone tablets. To give visual examples of the professions found within. But in addition to not being able to read, many poorer citizens did not know how to write either. So what did these people do when they needed to write a letter or sign a legal document? In this situation, you would find a writing master!
The stone gable at house #52 Egelantiersstraat is where the old writing master once operated. You can see a goose feather quill in his hand as the pen master sets out to write on the parchment paper below. This tablet dates back to 1618 and was made for Hendrick Theunisz. In addition to writing for people, Theunisz would offer writing lessons out of this shop. Teaching the public to write so they wouldn’t always have to employ his services.
The narrow entrance at #24 Egelantiersstraat features one of the most elaborate and beautiful stone gables in town. The old stone displays the words “ANSLO’S HOFJE” below the shield, which crowns the insignia. Cornelis Claesz Anslo was a wealthy cloth merchant and Mennonite pastor who lived here on Egelantiersstraat. Anslo was actually good friends with Rembrandt, and after Anslo’s wife’s death, Rembrandt painted a picture of the two after her untimely death.
But Anslo wasn’t one to hoard his wealth and opened up an almshouse here in Amsterdam. There, he offered free housing to the elderly as early as 1626. The stone tablet’s shield is surrounded by acanthus leaves. The symbol in the centre is the emblem of the house of Anslo and features a circle with three arrows piercing it, topped with a golden crown.
The beautiful brick house at #8 Egelantiersgracht features a series of stone gables set into the friezes above the first floor. The two tablets in the center are inscribed with the date the house was built in 1649. On either corner of the building are two different carvings. The right corner features a brewer stirring a large cauldron. On the left is the image of Saint Willibrordus. Saint Willibrordus famously was able to turn a barrel of beer into a barrel of wine.
In the 17th century, when you combined these two symbols, people knew this was a sign that you’d find a tavern inside! During the 17th century, beer was drunk with every meal, not water like we drink today. Back then, water wasn’t potable, and beer was considered the safest to drink as it had been processed. Even children drank beer with every meal! But thankfully, beer in the middle ages only contained an alcohol content of 2%.
Above the window at #50 Egelantiersgracht is a beautiful red rose brushed with gold leaf. Around the rose petals is the inscription ‘In Love Bloeyende,‘ which means “In Love, Flourishing.” Which, as we learned before, is the motto of the Eglantiers.
A few doors down at #72, on the corner of Egelantiersgracht and Tweede Egelantiersdwarsstraat, is the large cartouche of the brilliant golden sun. The brick cafe was originally a coach house in the 17th century designed by famous architect Philip Vingboons. The three houses along the street were named the sun, the moon and the stars. And each one originally had a stone tablet depicting its namesake. During renovations in the 1970s, the cartouche on #72 was removed from its original location nearer the roof and moved to the lower level, above the doorway, so more people could appreciate this ancient stone gable.
Crossing the canal over the Hilletjesbrug, make your way to #15 Egelantiersgracht. Here, you’ll find an 18th-century stone tablet featuring a carpenter hard at work. In his hand, he works with his chisel, and in the background, you can see various other tools of the trade. The square frame in the upper right-hand corner of the carving was a design every carpenter needed to create to be accepted into the carpenters guild. It was seen as proof of their competency. So when you see this symbol on a carpenter’s house, you know they are the real deal!
Walking along the Prinsengracht over to the Bloemgracht. The Bloemgracht is named after the ‘Bolwerk de Bloem‘ windmill, which once stood here in 1614. The iconic windmill remained here until 1878, when it was moved to Haarlemmerweg. In the 17th century, the Bloemgracht was one of the most popular areas for artists and craftsmen to live and work. The road was full of dyers who used the nearby canal to rinse their fabrics. Willem Blaeu started his cartography workshop here in 1635. A large print shop was built in 1672, and later in the 19th century, a famous graphic trading house was opened.
But most famously, the painter Rembrandt had a studio on the Bloemgracht in the 1660s. In the 18th and 19th centuries, the canal became a hotspot for sugar factories. But these disappeared after WWII when the area transformed into a residential neighbourhood. And today it remains one of the most picturesque in the city!
On the corner of Bloemgracht and Leliedwarsstraat, we can find the old stone tablet of ‘The Dove and the Olive Branch.’ The larger-than-life image of the dove stands perched atop an engraving of Noah’s arc. In 1614, the land here was purchased by carpenter Franchoijs Gisep. Gisep built two matching houses side by side. Just as Noah had two of each animal brought aboard his boat, Gisep had two houses. The houses were named the “Dove” and the “Oliver Branch,” respectively. Gisep had individual stone gables created for each house, but these were lost over the years.
In the 20th century, when the houses were joined together to form one large property, the new owner wanted to pay homage to the history of the home. So he created this blended stone tablet that ties the entire story together. Another example of modern-day owners still preserving the historic past of these old buildings.
Above the windows on the second floor is the 17th-century tablet depicting an armoured knight carrying a large spiked club. The knight is dressed in the armour of the Magnus of Schagen gentlemen. Schagen is a city northwest of Amsterdam whose coat of arms is depicted in the tablet. The text on the inscription beneath the image reads, “the knight and the rose.”
The Pelican Book House can be found a few doors down at #19 Bloemgracht. We have seen the pelican’s image used as a symbol to represent the blood of Jesus Christ previously. But here, it is even more glorious, with the image of the sun of righteousness enlightening the entire scene. Below the bird is a cube with the symbols of Rosicrucianism. These are a series of lettered roses surrounding a golden cross. The word “Rosicrucianism” literally translates to “rose cross.” Rosicrucianism was based on Christian mysticism with occult traditions. The stone pelican was used to mark the entrance to their mystic library.
The entire stone is encircled by a bright green snake swallowing its tail. This is a classical symbol signifying the cycle of birth and death. The snake swallowing its own tail also represents the knowledge of good and evil. In Rosicrucianism, the collection of knowledge in their mystic libraries was one of the most important touchstones of the order.
As the street was home to the Rosicrucian order, we can find even more mythical symbols abound. This unicorn tablet at #29 Bloemgracht was designed in the 20th century. It features the noble, rearing up against the brilliant golden sun. The sun’s rays emanate from the twisted horn, almost as if the sun is sprouting out of the unicorn’s head.
In the background, a beautiful waterfall flows down around a peaceful forest. The flowing water represents the symbol of everlasting life. Classically the blood of a unicorn was said to give the drinker everlasting life. And in mysticism, many people would seek out a unicorn horn to create the elixir of life, which was said to give the drinker everlasting life.
This elegant stone tablet is a modern creation made in honour of the woodworking company, ‘Fa Hassink en Zn.’ The shop was opened in 1934 and remained here for over 50 years, closing in 1995. The swirling wood curl from the gilded block plane in the center wraps around the frame, almost tying it up in a pretty bow!
The house symbols at #77 and #81 Bloemgracht are the largest and most impressive of all the plaques we’ve seen. Each scene depicted above the entrances features the same theme: “The old sower” and “The young sower.”
At #77, we can see a farmer sowing seeds from a simple satchel along his freshly ploughed field. A small house is featured in the right-hand corner, and a small tree sits off to the left in the distance. The houses along this street were once sugar refineries, and these stone tablets were commissioned for their warehouses. As they were created during the baroque period, the stone gables’ edges are decorated in ornate floral curls.
The tablet at #81 features a young farmer, perhaps the son of the man featured in the previous frame. In this scene, the house on the right is much larger and surrounded by a few other homes. We can also see that the tree has grown substantially. This little vignette is perhaps a vision of the future. The hard work the father did paid off and provided a brighter future for his son. A good message for the warehouse workers to see on their way to work.
The enormous old warehouse stretching from #87 to #91 Bloemgracht was once the “pearls of the Jordaan” neighbourhood. The original warehouse was built in the 17th century in this beautiful Renaissance style. It was called the De Drie Hendricken, or House of the Three Hendricks. Hendrick Roelofsz was the architect of the building, and atop each of the three matching buildings, he placed a different image to denote one from the other.
The gable stones depict a townsman, a farmer and a sailor. These characters represented the three distinct parts of the Dutch economy; city, country and sea. The townsman is dressed in expensive finery, knee braces, a large billowing cloak, a wide-brimmed hat, and a pair of shoes with golden buckles. The farmer can be seen carrying a spade in his right hand and a stick with a basket on his right shoulder. Finally, we have the sailor depicted carrying a basket in his hands, an anchor at his feet, and a ship sailing in the background. After the warehouses closed down, the building was converted into three individual townhomes.
The Jordaan is full of more than its fair share of hidden symbols. And these stone gables are just one of the many hidden histories that lurk along the cobblestone-lined canals. I hope you enjoyed this tour and saw some amazing things along the way! Let me know in the comment how you liked the tour and anything else you’d like me to uncover for your next trip to Amsterdam!
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