The German folk wrestling style called Ringen was researched by the famous XIX century sports historian and gymnastics teacher Karl Wassmannsdorff (1821-1906), PhD. He was also a Knight of the Order of the Zähringer Lion. In his book called “Medieval German Wrestling with 119 illustrations of Albrecht Dürer” he provides a detailed analysis of German wrestling traditions. According to Wassmannsdorff, the folk wrestling of German people (Ringen) was after the freestyle fashion (Kür-Ringen). 

Historically, this style was practiced in two modes, standing wrestling and up and down wrestling. In the former the objective of the match was to give opponent a fall on his back (two shoulders touching the ground simultaneously constituted the fall) with or without attacker falling himself (all falls were flying falls), and in the latter it was necessary at first to take your opponent down, then achieve the uppermost position and make your adversary quit any resistance by keeping him immovable underneath you that he’ll admit his defeat verbally (all falls were pinfalls). Over the time those two modes of German freestyle Ringen have evolved into one universal wrestling style the Ranggeln which allowed all kinds of back falls (flying, rolling, and pinning).

Pietro Monti (1457-1509) a master of arms from Milan (Italy) in his famous work called “De Dignoscendis Hominibus” (1492) describes the wrestling customs of the German people as follows: “They commonly grab the legs with their hands,” “They consider all things permissible in order to overcome the opponent,” ”They also wrestle with their feet and hands on the ground like quadrupeds.”

Notably, when in 1840 the famous pioneer of French/Graeco-Roman style Jean Dupuis (1799-1888) promoted his “Olympic Games Wrestling” in Bayreuth (Upper Franconia, Bavaria, Germany) he was challenged to a wrestling match according to the local customs by a farmer called Conrad Münch. His style called “Ringen Bauern Art” (wrestling after the peasants’ fashion) was described as “wrestling without any conditions”, or free for all wrestling.

Besides Kür-Ringen there also was an Old Ringen style which only allowed holds of the torso above the waist. In that particular style headlocks, use of hip/back for throwing as well as tripping/hooking were all strictly prohibited. Wrestlers started the match in either equal hold (above and under hug) which they didn’t have to maintain or at a distance facing each other. Old Ringen also existed in two different modes: standing wrestling for a throw and up and down wrestling. The great account of Old Ringen was given in “Castle Czvargas,” an 1899 book by Australian author Archibald Birt (1862-1943): “The undercatch was fought for desperately. But these men were not content with the fair throw, but must needs be to grovel and scramble on the ground, struggling furiously, until one made the shoulders of the other touch the earth together.” Notably, Birt pointed out that tripping which was the key skill in English Folk wrestling wasn’t allowed in that particular style.

The Old Ringen wrestling has evolved from a primitive trial of strength called Gürtelringen (belt wrestling). This vintage all-Germanic style was an equal fixed hold standing wrestling. The “right hand over and left hand under” holds were taken of two handles attached to the thick leathern belts buckled about the waist, and which were prevented by straps from shifting. No use of legs or feet for throwing was allowed during the matches. The objective of the match was to throw opponent flat on his back (two shoulders touching ground simultaneously) with or without attacker falling himself. The matches were played 2 out of 3 falls. The main techniques of that style were: lifting adversary off his feet and taking him down or throwing him over the head, or pulling him towards yourself and overturn him backwards, or simply swaying opponent from side to side and trying to unbalance him thus causing a fall. The weight of wrestler and his physical strength were decisive factors for winning those contests. In the second half of XIX century this style was popularized all around Eastern Europe and was known as the Swiss belt wrestling. Among the prominent practitioners of Gürtelringen was Emil Voss of Stettin, Pomerania (now Szczecin, Poland). In the 1880s this style was brought to Russia and taught as the “Russo-Swiss Wrestling” at the St. Petersburg’s Athletic and Cycling Club of Dr. Wladislaw Krajewski. The professional Gürtelringen matches were regularly performed in circuses as a part of the wrestling entertainment. All the best Russian Graeco-Roman wrestlers had Gürtelringen background.

German freestyle wrestling as a form of self-defense was covered in the 1443 wrestling manual by German Hans Talhoffer of Swabia. In his book he refers to the famous Ott Jud wrestling master to the princes of Austria. This book described and included illustrations of various wrestling holds and positions known as: the beginning with equal arm grip, warding off, hip wrestling, arm lock around the hip, the throw over the head and, and several others. Leading Dutch painter Marten van Heemskerck in 1552 produced a series of sketches on fencing and Germanic wrestling. But probably the best visualization of that style was a drawing produced by the famous Dutch engraver Daniël Veelwaard (1766-1851) for the previously mentioned famous book by GutsMuths called “Gymnastics for Youth.” His drawing shows a wrestling match in five episodes, starting with the opening hold (upper arms hold), includes two ways of throwing, and finishing with the fair back fall (pinning fall). The first throw is an artistic "flying horse" performed with the wrist and knee-hold. The second throw is more pragmatic "hype" with the tight hold around the waist (bear hug). It’s interesting that Veelwaard chose to show both sides of that universal wrestling style - artistic and pragmatic.

Other famous wrestling authors of that era included:

• Fabian von Auerswald (1462 – 1537). He served as a wrestling coach to John Frederick, the Duke of Saxony.

• Paulus Hector Meyer of Augsburg (1517 – 1579).

• Nicolaes Petter (1624 – 1672). He was a Dutch wrestling master of German descent. His wrestling/self-defense manuals were illustrated by the famous Dutch Baroque painter Romeyn de Hooghe (1645-1708).

To settle quarrels, besides actual wrestling, Medieval Germans used rough and tumble up and down fighting called Raufen (Scuffling). All kinds of wrestling holds (including illegal holds) as well as punching and kicking were allowed in Raufen. The Raufen combat was an exhibition of animalistic brutality and featured atrocities like biting, gouging and etc. The use of various small weapons in this kind of fight was permitted and negotiated prior to the contest. Notably, the proficiency in the art of wrestling was a key factor in winning any fight. In fact Raufen was a degenerated form of Ringen. Sometimes Raufen matches attracted local gamblers and were of “professional challenge” nature since the considerable sums were at stake. Thus Raufen became illegal and since then was practiced by the low order (local ruffians).