Stewart, who was first apprehended, acknowledged that Margaret Barclay, the other suspected person, had applied to him to teach her some magic arts, "in order that she might get gear, kye's milk, love of man, her heart's desire on such persons as had done her wrong, and, finally, that she might obtain the fruit of sea and land." Stewart declared that he denied to Margaret that he possessed the said arts himself, or had the power of communicating them. So far was well; but, true or false, he added a string of circumstances, whether voluntarily declared or extracted by torture, which tended to fix the cause of the loss of the bark on Margaret Barclay. He had come, he said, to this woman's house in Irvine, shortly after the ship set sail from harbour. He went to Margaret's house by night, and found her engaged, with other two women, in making clay figures; one of the figures was made handsome, with fair hair, supposed to represent Provost Tran. They then proceeded to mould a figure of a ship in clay, and during this labour the devil appeared to the company in the shape of a handsome black lap-dog, such as ladies use to keep.[80] He added that the whole party left the house together, and went into an empty waste-house nearer the seaport, which house he pointed out to the city magistrates. From this house they went to the sea-side, followed by the black lap-dog aforesaid, and cast in the figures of clay representing the ship and the men; after which the sea raged, roared, and became red like the juice of madder in a dyer's cauldron.
[Footnote 80: This may remind the reader of Cazotte's "Diable Amoureux."]
This confession having been extorted from the unfortunate juggler, the female acquaintances of Margaret Barclay were next convened, that he might point out her associates in forming the charm, when he pitched upon a woman called Isobel Insh, or Taylor, who resolutely denied having ever seen him before. She was imprisoned, however, in the belfry of the church. An addition to the evidence against the poor old woman Insh was then procured from her own daughter, Margaret Tailzeour, _a child of eight years old_, who lived as servant with Margaret Barclay, the person principally accused. This child, who was keeper of a baby belonging to Margaret Barclay, either from terror or the innate love of falsehood which we have observed as proper to childhood, declared that she was present when the fatal models of clay were formed, and that, in plunging them in the sea, Margaret Barclay her mistress, and her mother Isobel Insh, were assisted by another woman, and a girl of fourteen years old, who dwelt at the town-head. Legally considered, the evidence of this child was contradictory and inconsistent with the confession of the juggler, for it assigned other particulars and _dramatis personæ_ in many respects different. But all was accounted sufficiently regular, especially since the girl failed not to swear to the presence of the black dog, to whose appearance she also added the additional terrors of that of a black man. The dog also, according to her account, emitted flashes from its jaws and nostrils to illuminate the witches during the performance of the spell. The child maintained this story even to her mother's face, only alleging that Isobel Insh remained behind in the waste-house, and was not present when the images were put into the sea. For her own countenance and presence on the occasion, and to ensure her secrecy, her mistress promised her a pair of new shoes.