They are incapable of great thoughts and prolific ideas. This fact forms a peculiar contrast to the frequently excessive development of their powers of imagination.’ ‘If they are painters,’ we read in Lombroso,[29] ‘then their predominant attribute will be the colour-sense; they will be decorative. If they are poets, they will be rich in rhyme, brilliant in style, but barren of thought; sometimes they will be “decadents.”’ Such are the qualities of the most gifted of those who are discovering new paths, and are proclaimed by enthusiastic followers as the guides to the promised land of the future. Among them degenerates and mattoids predominate. The second of the above-mentioned diagnoses, on the contrary, applies for the most part to the multitude who admire these individuals and swear by them, who imitate the fashions they design, and take delight in the extravagances described in the previous chapter. In their case we have to deal chiefly with hysteria, or neurasthenia. For reasons which will be elucidated in the next chapter, hysteria has hitherto been less studied in Germany than in France, where, more than elsewhere, it has formed a subject of earnest inquiry. We owe what we know of it almost exclusively to French investigators. The copious treatises of Axenfeld,[30] Richer,[31] and in particular Gilles de la Tourette,[32] adequately comprise our present knowledge of this malady; and I shall refer to these works when I enumerate the symptoms chiefly indicative of hysteria.