Maxwell that he issued an immediate ultimatum --that if rough play continued, he would abolish the game by executive edict. The effect was the same as that of the harrowing telegraph reports of Russell from the Crimea, which created the image and role of Florence Nightingale. No less drastic was the effect of the press photo coverage of the lives of the rich. "Conspicuous consumption" owed less to the phrase of Veblen than to the press photographer, who began to invade the entertainment spots of the very rich. The sights of men ordering drinks from horseback at the bars of clubs quickly caused a public revulsion that drove the rich into the ways of timid mediocrity and obscurity in America, which they have never abandoned. The photograph made it quite unsafe to come out and play, for it betrayed such blatant dimensions of power as to be self-defeating. On the other hand, the movie phase of photography created a new aristocracy of actors and actresses, who dramatized, on and off the screen, the fantasia of conspicuous consumption that the rich could never achieve. The movie demonstrated the magic power of the photo by providing a consumer package of plutocratic dimension for all the Cinderellas in the world. The Gutenberg Galaxy provides the necessary background for studying the rapid rise of new visual values after the advent of printing from movable types. "A place for everything and everything in its place" is a feature not only of the compositor's arrangement of his type fonts, but of the entire range of human organization of knowledge and action from the sixteenth century onward. Even the inner life of the feelings and emotions began to be structured and ordered and analyzed according to separate pictorial landscapes, as Christopher Hussey explained in his fascinating study of The Picturesque. More than a century of this pictorial analysis of the inner life preceded Talbot's 1839 discovery of photography. Photography, by carrying the pictorial delineation of natural objects much further than paint or