gifted sculptors and assistants. It was, according to Deborah Edwards, "perhaps the sole instance of a coherent school of production among sculptors in Australian history". In 1925 Hoff completed reliefs for the Dubbo War Memorial and in 1927 he was commissioned to design the sculptures on the National War Memorial, South Australia. In 1930 Dellit commissioned Hoff to design the sculptures for the ANZAC Memorial. Creating the numerous sculptures on the ANZAC Memorial became the pinnacle of Hoff 's career. The task involved creation of sixteen seated and four standing figures of servicemen and women in cast synthetic stone, four corner cast stone reliefs and two long bronze bas-reliefs over the eastern and western doors outside the building. Hoff's contributions to the interior also included designing the form of the 120,000 faceted gold stars that covered the domed ceiling, four relief panels showing the march of the dead, each superimposed with symbolic representations of the Army, Navy, Air Force and Army Medical Corps, and the marble wreath surrounding the Well of Contemplation that framed the view of Sacrifice below. Hoff and eight assistants were fully employed on the memorial between 1931 and 1934. Hoff gave considerable prominence to the female contributors to the war effort in the ANZAC Memorial, including the women who lost their fathers, husbands and sons. Nurses were prominent among the figures representing the services and women were central to the group sculpture, "Sacrifice". Hoff explained the prominent position of the women in this work in 1932: "Thousands of women, although not directly engaged in war activities lost all that was dearest to them. There was no acknowledgment of them in casualty lists, lists of wounded, maimed and killed. In this spirit I have shown them carrying their load, the sacrifice of their menfolk". In 1932 models for the two massive bronze groups intended for placement in front of the east and west windows were publicly exhibited. Hoff's "The Crucifixion of Civilisation 1914" and "Victory after Sacrifice 1918" both featured naked women as the central figures. The violent controversy that greeted the exhibition of these models prevented their development into full-size sculptures, with the sexual aspect of the imagery attracting the most intense criticism. In despair over the controversy, Hoff eventually destroyed the plaster models and refused to compromise his designs when the possibility of making them was raised again in 1934. The sculptures were never completed.