of Londoners sleeping in the London Underground while sheltering from the Blitz. Kenneth Clark, the chairman of the War Artists' Advisory Committee (WAAC), had previously tried to recruit Moore as a full-time salaried war artist and now agreed to purchase some of the shelter drawings and issued contracts for further examples. The shelter drawings WAAC acquired were completed between the autumn of 1940 and the spring of 1941 and are regarded as among the finest products of the WAAC scheme. In August 1941 WAAC commissioned Moore to draw miners working underground at the Wheldale Colliery in Yorkshire, where his father had worked at the start of the century. Moore drew the people in the shelters as passively waiting the all-clear while miners aggressively worked the coal-faces. It has been suggested that Moore's wartime drawings of the Underground and coalmines were inspired, in part, by Gustave Doré's illustrations for Dante's 'Divine Comedy'. Moore's drawings helped to boost his international reputation, particularly in America where examples were included in the WAAC Britain at War exhibition which toured North America throughout the war. After their Hampstead home was hit by bomb shrapnel in September 1940, Moore and Irina moved out of London to live in a farmhouse called Hoglands in the hamlet of Perry Green near Much Hadham, Hertfordshire. This was to become Moore's home and workshop for the rest of his life. Despite acquiring significant wealth later in life, Moore never felt the need to move to larger premises and, apart from the addition of a number of outbuildings and studios, the house changed little over the years. In 1943 he received a commission from St Matthew's Church, Northampton, to carve a Madonna and Child; this sculpture was the first in an important series of family-group sculptures. Later years After the war and following several earlier miscarriages, Irina gave birth to their daughter, Mary Moore, in March 1946. The child was named after Moore's mother, who had died two years earlier. Both the loss of his mother and the arrival of a baby focused Moore's mind on the family, which he expressed in his work by producing many "mother-and-child" compositions, although reclining and internal/external figures also remained popular. In the same year, Moore made his first visit to America when a retrospective exhibition of his work opened at the Museum of Modern Art in New York City. Before the war, Moore had