In Skelton’s lost _Nigramansir_ one of the stage directions is stated to have been “Enter Balsebub with a beard,” no doubt the black vizard with an immense goatish beard familiar to the old religious drama. Presumably the chief use of the Necromancer, who gives his name to this play, was indeed but to speak the Prologue which summons the Devil who buffets and kicks him for his pains. However, we only know the play from Warton, who describes it as having been shown him by William Collins, the poet, at Chichester, about 1759. He says: “It is the Nigramansir, a morall _Enterlude_ and a pithie, written by Maister Skelton laureate, and plaid before the King and other estatys at Woodstoke on Palme Sunday. It was printed by Wynkyn de Worde in a thin quarto, in the year 1504. It must have been presented before Henry VII, at the royal manor or palace at Woodstock in Oxfordshire, now destroyed. The characters are a Necromancer or conjurer, the devil, a notary public, Simony, and Philargyria or Avarice. It is partly a satire on some abuses in the Church.... The story, or plot, is the trial of Simony and Avarice.” Beyond what Warton tells us nothing further is known of the play. Ritson, _Bibliographia Poetica_, 106, declared: “it is utterly incredible that the _Nigramansir_ ... ever existed.” It has been shown, too, that Warton as a literary historian is not infrequently suspect, and E. G. Duff, _Hand Lists of English Printers_, can trace no extant copy of this “morall _Enterlude_.” In the English moralities the Devil plays an important part, and, as in their French originals or analogues, he is consistently hampering and opposing the moral purpose or lesson which the action of these compositions is designed to enforce. In the later English plays also which evolved with added regularity from these interludes the Devil is always a popular character. He is generally attended by the Vice, who although in some sort a serving-man or jester in the fiend’s employ, devotes his time to twitting, teazing, tormenting, and thwarting his master for the edification, not unmixed with fun, of the audience. In _The Castell of Perseverance_ Lucifer appears shouting in good old fashion “Out herowe I rore,” just as he was wont to announce himself in the Mysteries, and he is wearing his “devil’s array” over the habit of a “prowde galaunt.” Wever’s _Lusty Juventus_ has unmistakable traces of the slime of the evil days of Edward VI, in whose reign it was written, and when the Devil calls Hipocrisy to his aid we are prepared for a flood of empty but bitter abuse which embodies the sour Puritan hatred against the Catholic Church, and towards the end, under the misnomer God’s Merciful Promises, we are not surprised to meet a tiresome old gentleman who cantingly expounds the doctrine of Justification by Faith.