Whatever strikes the imagination of crowds presents itself under the shape of a startling and very clear image, freed from all accessory explanation, or merely having as accompaniment a few marvellous or mysterious facts: examples in point are a great victory, a great miracle, a great crime, or a great hope. Things must be laid before the crowd as a whole, and their genesis must never be indicated. A hundred petty crimes or petty accidents will not strike the imagination of crowds in the least, whereas a single great crime or a single great accident will profoundly impress them, even though the results be infinitely less disastrous than those of the hundred small accidents put together. The epidemic of influenza, which caused the death but a few years ago of five thousand persons in Paris alone, made very little impression on the popular imagination. The reason was that this veritable hecatomb was not embodied in any visible image, but was only learnt from statistical information furnished weekly. An accident which should have caused the death of only five hundred instead of five thousand persons, but on the same day and in public, as the outcome of an accident appealing strongly to the eye, by the fall, for instance, of the Eiffel Tower, would have produced, on the contrary, an immense impression on the imagination of the crowd. The probable loss of a transatlantic steamer that was supposed, in the absence of news, to have gone down in mid-ocean profoundly impressed the imagination of the crowd for a whole week. Yet official statistics show that 850 sailing vessels and 203 steamers were lost in the year 1894 alone. The crowd, however, was never for a moment concerned by these successive losses, much more important though they were as far as regards the destruction of life and property, than the loss of the Atlantic liner in question could possibly have been. It is not, then, the facts in themselves that strike the popular imagination, but the way in which they take place and are brought under notice. It is necessary that by their condensation, if I may thus express myself, they should produce a startling image which fills and besets the mind. To know the art of impressing the imagination of crowds is to know at the same time the art of governing them. CHAPTER IV A RELIGIOUS SHAPE ASSUMED BY ALL THE CONVICTIONS OF CROWDS What is meant by the religious sentiment--It is independent of the worship of a divinity--Its characteristics--The strength of convictions assuming a religious shape--Various examples--Popular gods have never disappeared--New forms under which they are revived--Religious forms of atheism--Importance of these notions from the historical point of view-- The Reformation, Saint Bartholomew, the Terror, and all analogous events are the result of the religious sentiments of crowds and not of the will of isolated individuals.