Yad Vashem, the Martyrs’ and Heroes’ Remembrance Authority in Jerusalem, was established in 1953 as a museum and resource center to honor the memory of the Six Million. One of its features is an avenue of more than 600 evergreen carob trees through which visitors walk to reach the museum. It is called the Avenue of the Righteous.
The commemoration is not bestowed lightly. Much documentation is needed before the authority awards the title of Righteous Gentile. More than 2,000 additional cases are awaiting consideration by a special committee headed by an Israeli Supreme Court justice. In addition to a tree honoring a Righteous Gentile, Yad Vashem bestows a medal with the Talmudic inscription:
“Whoever saves a single life, it is as if he had saved the whole world.”
THE GARDEN OF THE RIGHTEOUS GENTILES is a project of the Halina Wind Preston Holocaust Education Committee of the Jewish Community Center. The idea for the Garden, patterned after the Avenue at Yad Vashem, belonged to Halina Wind Preston.
Mrs. Preston was a Jewish educator and lecturer on the Holocaust for more than 30 years. As a young lady barely in her 20s, Halina Wind hid from the Nazis for 14 months in a sewer in Lvov, Poland. She dedicated her life after the war to keeping alive the memory- of the six million Jewish victims of the Holocaust.
Mrs. Preston located Holocaust survivors living in Delaware—and in one case a Christian couple who had saved Jews—and compiled a list of area Jews who owed their lives to Righteous Gentiles. The 1981 tree-planting ceremony coincided with an Expo celebration at the Jewish Community Center, during which various elements of Israeli life were recreated.
In filing a 1981 report to the board of directors of the Jewish Community Center on the success of the tree-planting ceremony, Mrs. Preston wrote:
“… The trees, planted in honor or memory of those valiant Christians who saved Jewish lives during the Nazi era, will remain — we trust — an eternal symbol of unity between Jew and Gentile, then, now and for all time; a veritable Garden of the Righteous on Garden of Eden Road.”
It was her dream that the Garden eventually would be enhanced into a permanent monument, which would serve as a focal point for educational programs on the Holocaust.
In March 1982, the board of directors of the Jewish Community Center approved the idea of making the Garden of the Righteous Gentiles a permanent memorial.
Mrs. Preston died a year ago, on Dec. 2, 1982, at the age of 60 following open-heart surgery at Hahnemann Hospital in Philadelphia. After her death, the Holocaust Education Committee which she founded was renamed in her honor. Harriet Wolfson assumed the chairmanship, and the committee voted as its most urgent priority to formally dedicate the Garden as a permanent monument to the Righteous Gentiles of the Nazi era.
Some of the funding came from the contributions of more than 300 individuals and organizations locally and around the world in memory of Mrs. Preston.
It’s Giving Tuesday, the day we give back to organizations that we believe in — and we hope you will consider a donation to the Jewish Historical Society of Delaware.
Our Fall 2018 newsletter was just released and mailed to our members. You can read a copy here and learn about all the exciting developments at the JHSD. We want to do more and reach more members of our community in our efforts to preserve the documents, and tell the stories of Delaware’s Jewish community.
Your tax-deductible donation will make a big difference for the future of the JHSD. As we move forward towards an exciting future, demonstrating the support of our members and growing our membership is so important.
Become a member today and support a future of preserving the past.
or you may make your check payable to Jewish Historical Society of Delaware. Your contribution is fully tax-deductible under IRS guidelines.
Jewish Historical Society of Delaware
505 North Market Street,
Wilmington, DE 19801
The Jewish Historical Society of Delaware is a Beneficiary Agency of The Jewish Federation of Delaware
Reading Dr. Howard Berlin’s article “Essen’s Alte Synagoge that Survived Kristallnacht” in the December 2nd issue of the The Jewish Voice excited me and I feel that I must add to Dr. Berlin’s account.
I was born in Essen in 1929 and my family belonged to the “Alte Synagoge”. Why it was called that, I don’t really know. It was known as the “Neue Synagoge” when it was built in 1913, and usually, European buildings have to be around for hundreds of years before they are considered old. But it looks like the “Alte Synagoge” and that’s what it is called.
The day before Kristallnacht in November of 1938, my father was arrested and taken to the local jail. The reason became apparent the next morning when a band of hooligans broke into our home. and demolished everything in sight, sparing only the canary. My mother tried to explain that the house had been sold, but had no proof on hand. However, this may have been enough reason to keep them from setting our house on fire. Our Catholic housekeeper stayed and saved some of our belongings. My mother and I fled with our Scottie, wandering through the city. We eventually ended up at my uncle’s former home, where we lived for about a month. The main part of that house had been burned, but the rear of the house was habitable. My uncle and his family were living in Italy at the time, but his mother-in-law and sister-in-law lived there and were kind enough to let us stay with them. Due to the efforts of our (Gentile) family doctor, my father was released from jail after about a week. About a month later, after being turned back at the border once for lack of another newly enacted huge “exit tax” we went to Holland, where we stayed about three months before emigrating to the U. S. After living in Yonkers, NY for a couple of years, we settled in Wilmington.
I don’t remember much about those weeks in Essen after Kristallnacht. My school, the Jewish Community Center, and most Jewish private homes had been burned. I visited the synagogue and saw the devastation after it had been burned.
The first time I returned to Germany after the war was in 1966. My father had died two years earlier, and my mother, my former wife, and I stayed in Essen for three days. The synagogue was still there, of course, but the Jewish population was so small that it could not begin to support a building of that size. It was now a museum dedicated to German industry. We took the guided tour. The very young tour guide explained that the building had been “damaged during the war”. I didn’t bother to correct her. There was no remorse or admission of guilt. On the exterior there was a plaque with inscription that illustrates the mood at that time:
“MEHR ALS 2500 JUDEN DER STADT ESSEN MUSSTEN IN DEN JAHREN
1933-45 IHR LEBEN LASSEN.”
(My translation: “More than 2,500 Jews of the City of Essen lost their lives during the years 1938-1945”)
One thing happened that I will never forget. My mother wanted to visit a former friend, a lady who had lost her husband and two sons fighting for Hitler. Both my wife and I rebelled. Neither of us wanted any contact with any followers of “Der Fuehrer”. But Mother insisted, and, as usual, she got her way. We arrived at the lady’s house unannounced and rang the bell. Mother’s friend answered the door and the two women just stared at each other for moments. Neither spoke a word. Then they fell into each other’s arms, sobbing.
I was back again in 1989. The Alte Synagoge was still a museum, but now it was dedicated to Essen’s Jews. My grandfather’s business (M. Stern A.G.) was mentioned. There was a monument inside as a tribute to the Christian gravediggers who, as they were working during the day of Kristallnacht, saw what was happening and hid the torahs from the synagogue in an empty grave to save them from being destroyed. And there was a new plaque on the exterior:
“DIESES HAUS DER EHEMALIGE SYNAGOGE DER JUEDISCHEN GEMEINDE IST EIN STUMMER ZEUGE EINES FURCHTBAAREN GESCHEHENS DAS WIEDERGUTZUMACHEN UNS ALLEN AUFGETRAGEN IST.“
(My translation: “This house, the former synagogue of the Jewish community, is a silent witness to terrible events for which we must all atone.”
In 2002, I was back again. This time I was a guest of the City of Essen, as part of the atonement for the Holocaust, an annual event in cities all over Germany. My present wife and I, along with a couple of dozen others from the U. S., Israel, and South America, were wined and dined beyond belief. The first evening we were feted at a welcoming dinner, hosted by the Oberbuergermeister (Lord Mayor) and a number of city officials. We were seated with a Catholic priest and a retired Bishop of Essen, Heinrich Gehring. It was Herr Gehring who had caused the plaques on our synagogue to be changed, and made many similar attempts to atone for the sins of the Nazis. He also had a historical marker erected in the center of the city, across the street from the railroad station.
My translation: “During the period from October 27, 1941 to September 9, 1942, over 2,000 of Essen’s Jews were transported on trains from Essen’s main railway station and its freight station to ghettos and death camps in eastern Europe. Almost all were murdered there. The transport took place during daylight hours, in full view of townspeople and other passengers. Armed guards made any escape efforts impossible. Normal train service was not interrupted.”*
He, more than any others we met, truly regretted the sins of his fathers. As a token of our appreciation, we gave him a memento of ours, an iron medal which had been presented to my mother by the German government during WWI in gratitude for some of her gold jewelry which she had donated to the war effort.
In addition to the museum, the building hosts a research team that will continue to collect data and oral testimonies from Holocaust survivors and refugees for a few more years in order, I assume, to reconstruct records of the lives and fates of Essen’s Jewish citizens. The team consists of Jews and Gentiles, working together. Graduate students host the returning “Wandering Jews”.
Essen had been bombed heavily during WWII. The Krupp industries were prime targets for Allied bombers. Our former house was hit and, after the war, was replaced with an apartment house. The area around the synagogue was devastated. Almost every building in downtown Essen had been rebuilt or newly erected after the war. Miraculously, the synagogue survived the Nazi terror and the air raids. The damage from the Krystallnacht fire had been limited to the interior and the windows. To the Nazis the empty building was an eyesore, and preparations were made to raze it. However, the structure was so massive that they were unable to allocate the necessary explosives to demolish it.
Will the “Alte Synagogue” ever be used as a house of prayer again? Probably not. In 2002, Essen’s Jewish population consisted largely of Russian immigrants, too few to support such a large building. But, the climate has changed and slowly, more Jews are returning to Germany. Maybe some day.
This article was originally published in The Jewish Voice on January 20, 2008. Addendum:
* My wife and I returned to Essen for a brief stay in the summer of 2015. The plaque had been removed. However, On the adjacent sidewalk there was a small Stolperstein, one of many (presumably) all over Germany. Translated literally, it is a stone over which one can stumble or trip. Actually, it is anything but. It is a small brass plate which has been substituted for a brick or cobblestone in the sidewalk, and it bears the inscription of the name of the Jewish family which resided there before the Nazi era.
Essen’s Jewish population prior to World War II was quite small. Having heard that its synagogue (Alle Synagoge Essen as it is known) was one of the most beautiful ever built in Germany, I took the 20-mile train ride from Dusseldorf to see it.
The massive stone building of the synagogue was finished in 1913 and was the largest in Germany. It was 230 feet from front to back, 98 feet wide, and had an octagonal dome that reached a height of 112 feet. Unlike most of Germany’s synagogues that were completely destroyed by the Kristallnacht pogrom on the night of November 9, 1938, only the interior of Essen’s synagogue was destroyed. Following the war, the synagogue remained unused until 1976 when renovations were started. It was dedicated in 1980 on the 42nd anniversary of Kristallnacht as a municipal museum of Essen’s Jewish culture and the history of its persecution and resistance under the Nazis.
In front there is a stone memorial to the more than 2,500 of Essen’s Jews exterminated by the Nazis from 1939 to 1945. The front entrance consists of three massive double doors. Two pairs contain symbols each representing six Tribes of Israel. The third pair contains six symbols representative of Judaism and the Land of Israel.
A view of Essen’s Alte Synagoge, the largest in Germany with its octagonal dome Source: Dr. Howard Berlin
Inside the foyer, before entering the original sanctuary area that now serves as the museum, there is a scale model of what the original synagogue looked like, inside and out. Once inside the museum area, one first sees Essen’s oldest known headstone with Hebrew inscriptions dating back to 1731. This is followed by a short history of Essen’s Jews along with preserved examples of ceremonial religious objects: siddur, shofar, torah with mantle, breastplate, pointer, and finials.
The exhibits then deal with the emancipation and assimilation of Germany’s Jews, the genesis of Judaism’s Reform branch of the late 1800’s. This is followed by exhibits of the emigration and expulsion of Jews from Germany from an upsurge in anti-Semitism. With the enactment of the infamous Nuremburg Laws of September 15, 1935, Jews were now considered inferior, stripped of political rights. segregated, and every aspect of their conduct was defined and regulated. Photographs, newspapers, and posters document examples of anti-Semitic screeds that were commonplace, such as: Der Vater der Juden is der Teufel, translated: “The father of the Jews is the devil.” A simple park bench had the words: Nur für Arien: “Only for Aryan.” Whether it contained the German Jude, French Juif, Dutch Jood, Polish yd. Hungarian Zsido, or Czech Žid, the hated yellow Star of David publicly signified that the wearer was a Jew.
Much of the information of the exhibits is in German only with sporadic English translations. Fortunately, the impact of the exhibits is such that no explanations are necessary.
This museum had one “exhibit” I had never seen before in the many Jewish museums I’ve visited here and abroad. In the floor, covered by protective clear glass, are sealed charred parchment fragments of a torah scroll— remains of Kristallnacht. Also, there was an amazing photograph that showed the Alte Synagoge in flames on that very night.
The three pairs of entrance doors with seals representing the Twelve Tribes of Israel and symbols indicative of Judiaism and Israel. Source: Dr. Howard Berlin
Without a functioning synagogue since the war, Essen’s small Jewish community in 1959 opened a Jewish Community Center, whose synagogue has a dome with very unusual acoustics (a whisper anywhere in the sanctuary can be heard throughout the building!). I suppose this feature was to keep people from gossiping during services.
The interior of the dome whose height reaches 112 feet. Source: Dr. Howard Berlin
Located at 29 Steeler Strasse, Essen’s Alte Synagoge is admission free although there is a pishka box for donations. The Jewish Community Center is located at 46 Sedanstrasse and the Jewish cemetery is at 11 Mathilde-Kaiser Strasse.
Editor’s note: The author lives in Wilmington. Since his retirement from teaching, he is now a columnist for WoldWide Coins and writes about his museum visits around the world.
This article first appeared in The Jewish Voice on December 2, 2007.
The Delaware Jewish community has long been engaged with the Arts. Twenty-five years ago, one family’s creative legacy was recognized in an exhibition, “Artistic Connections: One Century of a Family’s Involvement in Art.” Learn more about these artists, and other noteworthy contributions to the arts scene by visiting the Jewish Historical Society of Delaware’s website, http://jhsdelaware.org/jewish-voice.
Artistic Wilmington Family Featured In Art Show At U.D.’s Arsht Hall thru Oct. 29
By BETH THOMAS
Three generations of artists from one family are represented in “Artistic Connections: One Century of a Family’s Involvement in Art,” an exhibition at Arsht Hall on the University of Delaware’s Wilmington campus, 2700 Pennsylvania Ave.
The exhibition includes paintings by Delawareans Ruth E. Berger, Dr. Norman L. Cannon, Maura E. Golin and the late Clara Finkelstein, an early member of the Wilmington Studio Group. Sculpture by Carol Berger Hershman, now a resident of Seattle, also is featured in the show.
A time span of nearly 100 years is represented by this multi-generational art exhibition. Finkelstein who immigrated to the United States from Russia with her parents in 1893 studied at the Philadelphia Academy of Fine Arts and with M.A. Renzetti and N.C. Wyeth.
A summer resident of Arden, a creative center for artists and writers in the early decades of this century, Finkelstein painted memories from childhood and from the stories of her parents’ experiences in Russia. She demonstrated her interest in the arts to her nieces and nephews and imparted in them a passion and talent that has, in tum, been inherited by succeeding generations.
Paintings by Berger, Cannon and Golin, members of the second generation who are nieces and a nephew of Finkelstein, also are included in the exhibit. All three artists are Wilmington natives, and their work has been exhibited frequently throughout the area.
Berger’s paintings have been shown exclusively in the Philadelphia area. She is a graduate of the University of Delaware and also studied at the Corcoran School of Art and the Tyler School of Fine Art in Philadelphia. She also works in printmaking and fiber art.
Golin’s work is owned by several embassies throughout the world. She studied art history at the University of Pennsylvania, graduated from the Philadelphia College of Art and did graduate work at the University of North Carolina. In her painting, she works through relationships of color forms to express the poetry of seemingly commonplace items.
Cannon, also a graduate of the University of Delaware, earned his medical degree from the University of Pennsylvania. He has pursued his study of art for over 30 years. He has combined sketching and painting with travel, and some of his outdoor paining experiences in Wilmington, Canada and New England are reflected in this exhibit.
Hershman, a sculptor, represents the third generation of artists in this family. A Philadelphian since early childhood, she graduated from the Tyler School of Fine Arts and did postgraduate work with Gerd Utecher. Hershman works in a variety of media, including bone, stone, epoxy resin, cast aluminum and mixed media. Her work has been exhibited throughout the United States and Europe and is included in many private and corporate collections.
For more information, call (302) 831-8839.
ARTISTIC CONNECTIONS:
ONE CENTURY OF A FAMILY’S INVOLVEMENT IN ART
Clara Finkelstein
OCTOBER 3-29, 1993
S. SAMUEL AND ROXANA C. ARSHT HALL UNIVERSITY OF DELAWARE
WILMINGTON CAMPUS
Maura Euster Golin
Ruth Euster Berger
THIS EXHIBITION HAS BEEN MADE POSSIBLE BY A GENEROUS ANONYMOUS DONOR TO WHOM THE PARTICIPANTS AND THE UNIVERSITY OF DELAWARE ARE EXTREMELY GRATEFUL.
YOU ARE CORDIALLY INVITED TO ATTEND A RECEPTION FOR THE ARTISTS ON SUNDAY, OCTOBER 3, 1993 FROM 3-5 P.M. S. SAMUEL AND ROXANA C. ARSHT HALL PENNSYLVANIA AVENUE, WILMINGTON, DELAWARE LIGHT REFRESHMENTS WILL BE SERVED.
Norman L. Cannon
The exhibition is being held at the S. Samuel and Roxana C. Arsht Hall in commemoration of the second anniversary of the opening of the building. Arsht Hall was named for Judge Roxana C, Arsht, a member of the artists family and niece of Clara Finkelstein, and her husband. Mr. S. Samuel Arsht.
Arsht Hall is located on the University of Delaware’s Wllmmgton Campus. 2700 Pennsylvania Avenue (Route 52 North) in Wilmington Delaware. Arsht Hall is Just a few miles from 1-95 approximately 60 minutes driving time from Philadelphia. For additional information call 302/83 1-8839.
ARTISTIC CONNECTIONS: ONE CENTURY OF A FAMILY’S INVOLVEMENT IN ART
A time span of nearly one hundred years is represented in this multi-generational art exhibition showcasing the creative outpourings of one family.
Five artists from three generations in this artistic Delaware family share a lifelong appreciation and study of art and a passionate interest in creating it. Though these artists are connected by family bonds, their work is quite diverse and truly represents five individual artists.
Clara Finkelstein, who immigrated to Delaware from Russia with her parents in 1893, represents the first generation of artists exhibited here. As a newcomer to the United States, Mrs. Finkelstein recalled her family’s experiences in Russia and as immigrants in a new country, and translated these into painting. A painter and supporter of the arts, Clara Finkelstein demonstrated to her nieces and nephews a genuine appreciation of artistic endeavors. They in tum passed that appreciation on to the following generation.
The four other artists-Ruth E. Berger, Norman L. Cannon, Maura E. Golin and Carol Berger Hershman-represent the second and third generations of family artists. They have each pursued the study of art in formal settings, which in part accounts for the quality of their work. They also learned from previous
generations, perhaps by example, that painting, drawing, and sculpting can serve as a profound means of expression. Through their work, they translate life’s experiences into an aesthetic and narrative object, like their aunt, Clara Finkelstein, did before them.
CLARA FINKELSTEIN
Born in Russia in 1885, Clara Finkelstein immigrated to the United States with her parents in 1893 and settled in Wilmington, Delaware. In the 1920s she and her husband, I. B. Finkelstein, bought a summer home in Arden. Delaware. It was in Arden. known then as a haven for writers and artists, where her interest in art was able to flourish. She started painting seriously and to study at the Pennsylvania Academy of Fine Arts in Philadelphia and with M . A . Renzetti and N. C. Wyeth.
An active member of the Wilmington Society of the Fine Arts, Clara Finkelstein was also one of the early members of the Studio Group in Wilmington. Her work was frequently exhibited locally and in Philadelphia, where she was a member of the Philadelphia Art Alliance. Clara Finkelstein and her husband were also instrumental in the development of the Brandywine Arts Festival.
Mrs. Finkelstein painted from life and was influenced by the naturalism of the Ashcan School d social realist painters of the 1930s. She drew upon her lifetime experiences for her painting subjects; personal stories and memories from childhood w ere among her favorite themes.
RUTH EUSTER BERGER
A native of Wilmington, Ruth E .. Berger graduated from the University of Delaware with degrees in art and education. After graduation, she taught art in the Wilmington public schools. She studied painting at the Corcoran School of Art in Washington, D.C. , and print making at Temple University’s Tyler School of Fine Art and at the Philadelphia Museum school.
Ruth Berger has had many solo exhibits and her paintings, prints, and fiber art have been widely shown in galleries and museums in the Philadelphia area. Through her art, she seeks to express a concern for the human experience in all of its variety.
NORMAN L. CANNON
A retired Wilmington doctor and medical administrator, Dr. Norman L. Cannon has always insisted on reserving time for his painting. At an early stage of this
lifelong interest, he showed some work to his aunt, Clara Finkelstein. who encouraged him and suggested that he continue with lessons. So began his thirty-eight year involvement with painting.
A graduate of the University of Delaware in 1933, Dr. Cannon earned a masters degree and a medical degree from the University of Pennsylvania in 1933 and 1937, respectively. His artistic education began in Arden, Delaware where he took children’s art classes, studying sculpture with M.A. Renzetti and painting and drawing with Walter Kumme. Since this early exposure to painting and sculpture, Dr. Cannon has pursued his artistic education at the Delaware Art Center and at the Pennsylvania Academy of Fine Arts, where he took evening sculpture classes. For the past twenty-five years he has studied painting with Ed Loper, Sr. traveling, sketching, and painting whenever he had an opportunity, painting became an absorbing and exciting hobby for Dr. Cannon. Outdoor painting experiences in Wilmington, Quebec City, and New England are represented in this exhibit, along with painting scenes in Puerto Rico
and Antigua.
Dr. Cannon’s work has been shown in exhibits at Luther Towers, the Wilmington Public Library, and in a group exhibition at the Warehouse Gallery in Arden. Several of his works are displayed at the Medical Center of Delaware.
CAROL BERGER HERSHMAN
A former Philadelphian, Carol Hershman now lives and works in Seattle, Washington. As a sculptor, she works with a variety of materials including bone, stone, epoxy resin, cast aluminum, and mixed media. Two of Mrs. Hershman’s jewelry pieces also appear in the exhibition. The necklaces include hand-blown glass beads and hand-carved bone figures.
A graduate of Tyler School of Fine Arts at Temple University, Carol Hershman has also studied at Bard College and did post graduate work with the sculptor Gerd Utescher. Her work has been exhibited throughout the United States and Europe and is included in many private and corporate collections.
Her daughter, Carla Hershman, is continuing the family tradition by studying painting at Mills College in California. Her paintings represent the fourth generation of artists in this family.
MAURA EUSTER GOLIN
Born in Wilmington, Delaware, Maura E, Golin began painting as a scholarship student in the children’s art classes at the Delaware Art Museum She pursued her interest in art at the University of Pennsylvania where she studied Art History, and graduated from the Philadelphia College of Art. She did graduate work at the University of North Carolina-Chapel Hill and has studied with Sam Feinstein in Philadelphia.
Maura Golin’s woodcuts and paintings are included in numerous private collections, as well as the University of Delaware and embassies in Greece, Japan, Panama, and the Peoples Republic of China.
As an artist, she strives to build a radiant, harmonious image through relationships of color forms. Using painting as her vehicle of expression, she extracts and reveals the poetry of her world.
An active member of the Wilmington Society of the Fine Arts, Clara Finkelstein was also one of the early members of the Studio Group in Wilmington. Her work was frequently exhibited locally and in Philadelphia, where she was a member of the Philadelphia Art Alliance. Clara Finkelstein and her husband were also instrumental in the development of the Brandywine Arts Festival.
A graduate of the University of Delaware in 1933, Dr. Cannon earned a masters degree and a medical degree from the University of Pennsylvania in 1933 and 1937, respectively. His artistic education began in Arden, Delaware where he took children’s art classes, studying sculpture with M.A. Renzetti and painting and drawing with Walter Kumme. Since this early exposure to painting and sculpture, Dr. Cannon has pursued his artistic education at the Delaware Art Center and at the Pennsylvania Academy of Fine Arts, where he took evening sculpture classes. For the past twenty-five years he has studied painting with Ed Loper, Sr. traveling, sketching, and painting whenever he had an opportunity, painting became an absorbing and exciting hobby for Dr. Cannon. Outdoor painting experiences in Wilmington, Quebec City, and New England are represented in this exhibit, along with painting scenes in Puerto Rico
A graduate of Tyler School of Fine Arts at Temple University, Carol Hershman has also studied at Bard College and did post graduate work with the sculptor Gerd Utescher. Her work has been exhibited throughout the United States and Europe and is included in many private and corporate collections.
Maura Golin’s woodcuts and paintings are included in numerous private collections, as well as the University of Delaware and embassies in Greece, Japan, Panama, and the Peoples Republic of China.