Turkish Rider with Bow and Arrows from Kunstbuchlin

Sigmund Feyerabund, printer and publisher

1599
woodcut, 
6.75 x 5 inches 

A Seated Turk in Plumed Turban
from Kunstbuchlin 

Sigmund Feyerabund, printer and publisher 

1599
woodcut, 
6.5 x 4.75 inches

Amman published over 1500 prints, quite a considerable number, so it is not likely that he did all his own cutting. It is assumed that he created the designs, then handed them over to a professional wood block cutter for execution. This does not mean that Amman never partook in the tedious cutting process, as his initials have been recorded by a quill pen and wood engraver's knife, signifying that he did both. 

The first edition of the Kunstbuchlin was published in 1578 in Latin and German versions. The German title read, Kunst und Lehrbuchlein fur die anfahenden Jungen Daraus reissen und Malen zu lernen Darinnen allerley Art lustige und artliche furreissung von Manns und Weibsbildern Desgleichen von Kindlein Thieflein und anderen stucklein. Allen liebhabenden Jungen dieser Kunst zum besten an tag geben (Art and instruction book for young beginners, from which to learn how to draw and paint; containing all sorts of cheerful and pleasant illustrations of men and women, also of little children, little animals and other subjects; published for the benefit of all young people who love this art). In 1599, after the death of both Amman and Feyerabend, a fourth edition was published. It was enlarged by the inclusion of pictures that had appeared in other books illustrated by Amman. This edition did not restrict the purpose of the book to instruction; it simply wanted to please the purchaser. The pictures Amman designed for the 1578 edition included mainly pictures of women and children, the bishops, the allegories, and the pagan gods. The 1599 version adds illustrations from two 1577 works on Turkey, Das Leben Scanderbegs (The Life of Scanderbeg) and Turckische Chronica; the 1579 Stam und Wapenbuch hochs und niders Standts (Book of pedigrees and coats-of-arms of high and low degree); from two 1584 works Ritterliche Reutterkunst (Knightly Horsemanship) and Von der Gestuterey (On horse breeding); and other books issued by Feyerabend. 

The two prints in the Wake Forest University Print Collection, A Turkish Rider with Bow and Arrows and A Seated Turk in Plumed Turban, have been attributed to the 1599 edition because they are the same subjects as the added illustrations. These plates show elaborate costumes and accessories. A Turkish Rider shows great animated movement, but it is almost theatrical because the pose is unnatural. It seems as though Amman thought the horse needed a pose as impressive as his rider's armor. A Seated Turk on the other hand, puts such an emphasis on the opulent costume that his facial expression seems as if it is an afterthought. The figure looks like a mannequin, simply inserted into his impressive garb, instead of looking like he is proud of and wanting to show off his grand clothing. Books of this kind were very popular; its buyers loved examples of high living, especially fashionably dressed men or women on fine horses. Amman's patrons, aristocrats and patricians, also enjoyed seeing how the "common people" lived, which explains the appeal of genre art in the 16th century that is not concerned with social questions and devoid of social criticism." Amman does not include moral or religious lessons in this book, nor does he attempt to appeal to his audience's emotions. Amman was simply an artist willing to lend his talents to the requirements of supply and demand in Nuremberg. Thus, he focused on making his work instructional, playful, and delightful. 

1 Pilz, 203.
2 Amman, 1968.