That the original Faust was a real personage,[4] a wandering conjurer and medical quack, who was well known in the south-west of the German Empire, as well as in Thuringia, Saxony, and the adjoining countries somewhere between the years 1510-1540, does not now admit of any serious doubt. Philip Begardi, a physician of Worms, author of an _Index Sanitatis_ (1539), mentions this charlatan, many of whose dupes he personally knew. He says that Faust was at one time frequently seen, although of later years nothing had been heard of him. It has indeed been suggested the whole legend originated in the strange history of Pope S. Clement I and his father Faustus, or Faustinianus, as related in the _Recognitions_, which were immensely popular throughout the Middle Ages. But Melanchthon knew a Johannes Faustus born at Knütlingen, in Wurtemberg, not far from his own home, who studied magic at Cracow, and afterwards “roamed about and talked of secret things.” There was a doctor Faustus in the early part of the sixteenth century, a friend of Paracelsus and Cornelius Agrippa, a scholar who won an infamous reputation for the practice of necromancy. In 1513 Conrad Mutt, the Humanist, came across a vagabond magician at Erfurt named Georgius Faustus Hermitheus of Heidelberg. Trithemius in 1506, met a Faustus junior whose boast it was that if all the works of Plato and Aristotle were burned he could restore them from memory. It seems probable that it was to the Dr. Faustus, the companion of Paracelsus and Cornelius[5] Agrippa, that the legend became finally and definitely attached. The first literary version of the story was the _Volksbuch_, which was published by Johann Spies in 1587, at Frankfort-on-the-Main, who tells us that he obtained the manuscript “from a good friend at Spier,” and it soon afterwards appeared in England as _The History of the Damnable Life and Deserved Death of Dr. John Faustus_, a chap-book to which Marlowe mainly adhered for the incidents in his play. The tragedy was carried across to Germany by the English actors who visited that country in the last years of the sixteenth and the earlier part of the seventeenth century, and thus, while it was itself derived from a German source, it greatly influenced, if it did not actually give rise to, the treatment of the same theme by the German popular drama and puppet-play. These were seldom printed, and usually for the most part extemporized, keeping all the while more or less closely to the theme. Scheible in his _Kloster_ (1847), Volume V, gives the excellent Ulm piece, and there are marionette versions edited by W. Hamm (1850; English translation by T. C. H. Hedderwick, 1887), O. Schade (1856), K. Engel (1874), Bielschowsky (1882), and Kralik and Winter (1885).