Aunt Sophy undeniably had a habit of regarding people as human beings. You found her talking to chambermaids and delivery boys, and elevator starters, and gas collectors, and hotel clerks--all that aloof, unapproachable, superior crew. Under her benign volubility they bloomed and spread and took on color as do those tight little paper water flowers when you cast them into a bowl. It wasn't idle curiosity in her. She was interested. You found yourself confiding to her your innermost longings, your secret tribulations, under the encouragement of her sympathetic, "You don't say!" Perhaps it was as well that Sister Flora was in ignorance of the fact that the millinery salesmen at Danowitz & Danowitz, Importers, always called Miss Decker Aunt Soph, as, with one arm flung about her plump shoulder, they revealed to her the picture of their girl in the back flap of their billfold. Flora, with a firm grip on Chippewa society, as represented by the East End set, did not find her position enhanced by a sister in the millinery business in Elm Street. "Of course it's wonderful that she's self-supporting and successful and all," she told her husband. "But it's not so pleasant for Adele, now that she's growing up, having all the girls she knows buying their hats of her aunt. Not that I--but you know how it is." H. Charnsworth Baldwin said yes, he knew. When the Decker girls were young, the Deckers had lived in a sagging old frame house (from which the original paint had long ago peeled in great scrofulous patches) on an unimportant street in Chippewa. There was a worm-eaten, russet-apple tree in the yard, an untidy tangle of wild-cucumber vine over the front porch, and an uncut brush of sunburned grass and weeds all about. From May until September you never passed the Decker place without hearing the plunkety-plink of a mandolin from somewhere behind the vines, laughter, and the creak-creak of the hard-worked and protesting hammock hooks.