The "Washing of Feet" occurs on Maundy Thursday, three days before Easter. [153] This day is the first of three successive days of mourning spoken of, during which the altar is closed, and no lights are lit. After the mass the bishop puts away his brocaded robes, and kneeling in imitation of Christ washing the feet of His disciples on the night of the betrayal, he washes the feet of the priests and choristers, of whom there are usually eleven. Christ washed the feet of twelve, but one of them was unworthy. The service then continues until midnight, and while the ceremony is in progress, the lights are put out one by one, to remain out until the "Lighting of the Lights" on Easter eve. If the church is a parish church in which a priest officiates, a number of little boys are ranged in order for the "Washing of Feet," which in this case is performed by the priest, who anoints the soles of their feet with oil after he has washed them. Each boy is given a walnut shell and before he moves from his place he carefully scrapes some of the oil into his shell, and carries it home to place in the butter. If he does this it is believed that the supply of butter will not fail throughout the year. This same service was observed by a writer in the Survey, in a church on East 27th Street, New York, rented by a company of Armenian folk residing in that city. [154] The same symbolic "Washing of Feet" was carried out on the evening of Maundy Thursday in much the same fashion as it is carried out in the home-land. The symbolism, the pageantry, the color of oriental Armenian worship, the silver-mounted Bible on the altar in the center, the rising steps, the crosses, the lighted candles, and the incense were all there. A white-robed choir with green velvet copes filed in, singing long chants. The choir was followed by two priests, and the priests by the bishop with his mitre, robe of crimson and gold, and his ivory cross held in the right hand with a kerchief of crimson silk. A shining crozier held in his left hand marked his office as shepherd of the flock; a large jewel locket and cross hung from his breast and was probably the gift of the Czar. The choir chant that continues all the while was described as an intricate, rhythmless tune, now passionate, now wailing and altogether "oriental," accompanied by a few older folk here and there who were humming in unison with the choir and the leader, who was beating time. Beside the humming the congregation took no part in the service except that it stood up for the psalm and prayer. Suddenly a sound to the right brought the observer's attention to an old woman lying prostrate in the aisle. No one helped her, no one even seemed to notice her, but presently she rose to a kneeling posture and lifted her eyes in prayer to the altar. Again she prostrated herself, and again rose to lift her eyes to the altar, which performance was repeated a third time before the old woman took her seat. "Der Voghormia" meaning