The evidence of all this, apart from the inadvertent admission of the friendly Utah reviewer, is to be found in the identity of the sewer-stench that attaches to the work of both; in the use of the same materials; and the adoption of similar methods. As for instance: A somewhat eccentric writer in the early days of the Mormon Church characterized a number of the prominent Church leaders under what was to him descriptive titles, such as Brigham Young, "Lion of the Lord;" Wilford Woodruff, "Banner of the Gospel;" John Taylor, "Champion of Liberty." This evidently appealed to the erratic and fantastical intellect of Mr. Schroeder, and led him to adopt as the title of his intermittent, and now defunct anti-Mormon periodical, "Lucifer's Lantern;" and on the title page of the last number of the "Lantern" he gratuitously invents for Lorenzo Snow, then President of the Mormon Church, the descriptive title--as he supposes--"Boss of Jehovah's Buckler." Now, Mr. Wilson having his attention directed to the descriptive title of early leading Mormon Elders invented by the aforesaid eccentric, though friendly writer, conceived the idea of making the chief character of his story of the number of those who had received such titles, and hence confers upon "Joel Rae," the character in his book about whom he centers all the horrors of his gruesome tale, the blasphemous title--"Lute of the Holy Ghost!" Or was it Mr. Schroeder; for one dreads to think that a man of the order of talents of Mr. Wilson could stoop to the low blasphemy of such a performance; while it is altogether in accordance both with the principles and practice of his should-be-acknowledged collaborator, Mr. Shroeder; for blatant atheism was and is the latter's pride and boast; and he was wont, as we have seen by his use of it in "Lucifer's Lantern," to ascribe fanciful titles to leading Mormons. A word, in headlines, as to the story itself; that it is possessed of dramatic force, and literary merit will go without saying when it is known that its author is also the author of "The Spenders." That it deals with elements capable of being so combined as to produce the most intense human interest will be conceded when I say that it treats of religious fanaticism--the faith--"fanatic faith," that "Once wedded fast To some dear idol, Hugs it to the last;" of love--the theme of the ages, the one theme ever old and ever new--the theme perennial; with human passions and ambitions, the desire for that most deceitful end of all human ambitions--the desire for sanctity while living, and a reputation for holiness when dead. These the elements of the story; and now the incidents: