An old Basque legend reported by Estefanella Hirigaray describes how the witches were wont to meet near an old limekiln to dance their rounds, a ceremony regarded throughout that district as an essential feature of the Sabbat. De Lancre notes the brawls _à la Bohémienne_ as especially favoured by sorcerers in Labourd. Sylvester Mazzolini, O.P. (1460-1523), Master of the Sacred Palace, and the great champion of orthodoxy against the heresiarch Luther, in his erudite _De Strigimagia_[94] relates that in Como and Brescia a number of children between eight and twelve years old, who had frequented the Sabbat, but had been happily converted by the unsparing patience of the Inquisitors, at the request of the Superiors gave exhibitions of these dances when they showed such extraordinary adroitness and skill in executing the most intricate and fantastic figures that it was evident they had been instructed by no mere human tutelage. Marco de Viqueria, the Dominican Prior of the Brussels monastery, closely investigated the matter, and he was a religious of such known acumen and exceptional probity that his testimony soon convinced many prelates at Rome who were inclined to suspect some trickery or cunning practice. In Belgium this Sabbat dance was known as _Pauana_. In the Fian trial Agnes Sampson confessed that “They danced along the _Kirk-yeard_, _Geilic Duncan_ playing on a _Trump_, and _John Fein_ mussiled led the _Ring_. The said _Agnes_ and her daughter followed next. Besides these were _Kate Gray_, _George Noilis_ his wife, ... with the rest of their Cummers above an hundred Persons.”[95] She further added “that this Geillis Duncane did goe before them, playing this reill or daunce uppon a small trumpe, called a Jewe’s trumpe, untill they entered into the Kerk of North Barrick.”[96] “These confessions made the King [James I, then James VI of Scotland] in a wonderfull admiration, and sent for the saide Geillis Duncane, who, upon the like trumpe, did play the saide daunce before the kinges maiestie.”