There are numberless instances of prayer offered to the Devil by his servants. Henri Boguet, in his _Discours des Sorciers_ (Lyons, 1608), relates that Antide Colas, 1598, avowed that “Satan bade her pray to him night and morning, before she set about any other business.”[20] Elizabeth Sawyer, the notorious witch of Edmonton (1621), was taught certain invocations by her familiar. In her confession to the Rev. Henry Goodcole, who visited her in Newgate, upon his asking “Did the Diuell at any time find you praying when he came unto you, and did not the Diuell forbid you to pray to Iesus Christ, but to him alone? and did he not bid you to pray to him, the Diuell as he taught you?” She replied: “He asked of me to whom I prayed, and I answered him to Iesus Christ, and he charged me then to pray no more to Iesus Christ, but to him the Diuell, and he the Diuell taught me this prayer, _Sanctibecetur nomen tuum, Amen_.”[21] So as Stearne reports in _Confirmation and Discovery of Witchcraft_ (1648), of the Suffolk witches: “_Ellen_, the wife of _Nicholas Greenleife_ of _Barton_ in _Suffolke_, confessed, that when she prayed she prayed to the Devill and not to God.” In imitation of God, moreover, the Devil will have his miracles, although these are θαύματα, mere delusive wonders which neither profit nor convince. Such was the feat of Jannes and Mambres, the Egyptian sorcerers, who in emulation of Moses changed their rods to serpents. To this source we can confidently refer many tricks of Oriental jugglers. “I am satisfied,” wrote an English officer of rank and family, “that the performances of the native ‘wise-men’ are done by the aid of familiar spirits. The visible growth of a mango tree out of an empty vessel into which a little earth is placed, a growth which spectators witness, and the secret of which has never been discovered, may not be unreasonably referred to the same occult powers which enabled the Egyptian magicians of old to imitate the miraculous acts which Moses, by God’s command, openly wrought in the face of Pharaoh and his people.”[22] In the basket-trick, which is performed without preparation in any place or spot—a greensward, a paved yard, a messroom—a boy is placed under a large wicker basket of conical shape, which may be examined and handled by all, and this is then stabbed through and through by the fakir with a long sword that pierces from side to side. Screams of pain follow each thrust, and the weapon is discerned to be covered with fresh blood. The cries grow fainter and at length cease altogether. Then the juggler uttering cries and incantations dances round the basket, which he suddenly removes, and no sign of the child is to be seen, no rent in the wicker-work, no stain on the steel. But in a few seconds the boy, unharmed and laughing, appears running forward from some distant spot. In this connexion we may well recall the words of Suarez: “[The Devil] can