Das Hummel-Buch, with poetic text by the Austrian writer Margarete Seemann. Soon afterward, Franz Goebel, the owner of a porcelain company, was looking for a new line of artwork, and happened to see some of these postcards in a shop in Munich. Hummel agreed, mostly for its saving the employment of many workers, and the convent granted him sole rights to make figurines based on her art. Interest in the figurines increased after they were displayed in 1935 at the Leipzig Trade Fair, a major international trade show. A decade later, the figurines would gain popularity in the United States when returning American soldiers brought them home. In 1937, two events in Hummel's life were to mark her future. On 30 August, she made her final profession as a permanent member of the Congregation. Also, she had released a painting titled "The Volunteers", which drew the enduring hatred of Adolf Hitler, who attacked the art, denouncing the depiction of German children with "hydrocephalic heads". Although the Nazi authorities allowed Hummel to work, they banned the distribution of her art in Germany. One Nazi magazine, the SA Man (issue of 23 March 1937), wrote of her work: Significantly, Hummel also drew sketches that contained the Star of David, a dangerous theme in those times. She portrayed angels in gowns covered with slightly skewed six-pointed stars. She also designed a series of Old and New Testament symbols for the convent chapel in 1938–39. She symbolized the juncture of the two Testaments by designing a cross with a menorah before it. Wartime suffering and death In 1940, the Nazi government closed all religious schools, including those of Siessen. Later that year, it seized the convent itself, forcing most of the community to leave. Out of a community of some 250 sisters, the 40 sisters who were allowed to remain were confined to a small section of the convent, living there without heat and without any means to support themselves. Hummel returned to her family at this time, but within three months so missed community life that she asked to be allowed to return. The Superior, Mother Augustine, O.S.F., allowed her to do so. Hummel was given a small cell which served as both sleeping quarters and her studio. The Nazis took half of the money generated by her work, but the remaining funds were the main source of income of the sisters there.