Question: When was Moore commissioned by the Church of St. Matthew to carve Madonna and Child?
About the article "Henry Moore", section "World War Two".

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At the outbreak of the Second World War the Chelsea School of Art was evacuated to Northampton and Moore resigned his teaching post.
During the war, Moore produced powerful drawings 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 drewings 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 drew miners working underground at the Wheldale Colliery in Yorkshire, where his father had worked at the start of the century.
Whereas Moore drew the people in the shelters as passively waiting the all-clear he shows the miners aggressively working the coal-faces.
These drawings helped to boost Moore's 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 the Church of St. Matthew, Northampton, to carve a Madonna and Child; this sculpture was the first in an important series of family-group sculptures.
The vestibule of St. Mary Help of Christians Church has a life-size bronze statue of the Madonna and Child by Gustave Doré.
This statue, which was cast in the 1880s was donated to the Church in 1947 by Beatrice Kinney Lamantagne, another winter resident of Aiken.  
The Madonna of Loreto or "Pilgrim's Madonna" is a famous painting (1604–1606) by the Italian Baroque master Caravaggio, located in the Cavalletti Chapel of the church of Sant'Agostino, near the Piazza Navona in Rome.
It depicts the apparition of the barefoot virgin and naked child to two peasants on a pilgrimage; or as some say it is the quickening of the iconic statue of the Virgin.
In 1603 the heirs of marquis Ermete Cavalletti, who had died on 21 July 1602, commissioned for the decoration of a family chapel a painting on the theme of the Madonna of Loreto.
Putting into practice the marquis's will, the Cavaletti's on 4 September 1603 purchased a chapel in the church of Sant'Agostino in Rome.
Giovanni Baglione, a competing painter of lesser talent, but who had successfully obtained Caravaggio's jailing during a libel trial, said that the unveiling of this painting "caused the common people to make a great cackle ("schiamazzo") over it".
The uproar was not surprising.
The Virgin Mary, like her admiring pilgrims, is barefoot.
The doorway or niche is not an exalted cumulus or bevy of putti, but a partly decrepit wall of flaking brick is visible.
Only the merest halo sanctifies her and the baby.
While beautiful, the Virgin Mary could be any woman, emerging from the night shadows.
Like many of Caravaggio's Roman paintings, such as the "Conversion on the Way to Damascus" or the "Calling of St Matthew", the scene is a moment where everyday common man (or woman) encounters the divine, whose appearance is also not unlike that of a common man (or woman).
The woman modelling Mary appears to be the same as that in the canvas in the Galleria Borghese: "The Madonna and Child with St. Anne (Dei Palafrenieri)" (1605). 
The altarpiece was commissioned by the "Compagnia dei Laudesi" for the church of Santa Maria Novella in Florence.
The "Rucellai Madonna" is considered to be Duccio's first documented work.
The work was designed for the main altar of the church, but the current name reflects its later use in the Rucellai family's chapel within the church.
In a contract dated 15 April 1285, Duccio was commissioned to paint a panel for which he was to be paid 150 lire.
The contract's only requirements were that the Virgin and Child and "other figures" should be present, but gave no other instructions as to its contents or style.
The document stated that if the final work failed to please, the artist would retain possession of the painting and no payment would be made.
In the 16th century, the art historian Giorgio Vasari mistakenly attributed the "Rucellai Madonna" to Duccio's contemporary, Cimabue, in his "Lives of the Most Eminent Painters, Sculptors, and Architects".
This mistake went unchallenged for centuries; in the 19th century Frederic Leighton was to show the Rucellai Madonna paraded through the streets in his first major painting "Cimabue's Celebrated Madonna Carried in Procession" (1853-5).
In 1889, however historian Franz Wickhoff compared stylistic choices between the Rucellai Madonna and Duccio's Maestà, and soon other critics agreed that Duccio had indeed painted the Madonna. 
Chiesa della Madonna di Costantinopoli Chiesa della Madonna di Costantinopoli (English: The church of Our Lady of Constantinople) (protector of barrels) was probably built in the middle of the 17th century.
According to tradition, Our Lady pointed to a farmer while digging the place where he dreamed he would find his image painted on the tuff.
The building has a mural of the Madonna in Byzantine style of the 14th century.
The protector of the city is also dedicated to the Mother Church, where there is instead a Byzantine painting of the 15th century, representing the Madonna of Constantinople and a painting of the 17th century, depicting the Virgin Mary pierced by seven stilettos.
Chiesa di Sant'Attanasio e San Rocco Chiesa di Sant'Attanasio e San Rocco (English: Church of St. Athanasius and St. RoccoThe church of St. Athanasius and St. Rocco) was probably built in 1640, as follows from the above picture him at a time once more.
It was built under the supervision of Mr. Daniel Raphael, the oldest of the Brotherhood.
The earthquakes of 1931 and 1980 seek further damage to the structure, restored several times.
Inside the church has four paintings of the 1640 Neapolitan school.
A canvas of the Neapolitan school, depicting the Madonna del Carmine, built at the end of 700 is preserved in the church of the Carmelite convent of Santa Maria del Carmine.
Chiesa di San Nicola Chiesa di San Nicola (English: Church of St. Nicholas) In the church holds a canvas, depicting the Annunciation, of 1464 and another painting by Girolamo Bresciano of 600.
In the town square is the fountain of the fence, built in 1713 and depicting three figures with heads apotropaic that, according to etymology, should keep away from the magic fountain and malignant influences.
At the top is visible when a coat of arms is carved the Madonna with Child of Constantinople.
Sesh The "Sesh"In the peripheral part is the area called Sesha (which means square in the ancient language arbereshe), consisting of caves dug in the rock created by the first Albanian immigrants, nowadays used to store wine Aglianico.
The cellars of the Sesha are visible in the film by Pier Paolo Pasolini, The Gospel according to Matthew (1964), since the director decided to shoot some exteriors of the film to Barile.
In August, takes place between these cellars a cultural event by the name "Cellar Wine & Art", in which the most varied forms of art such as music, painting, cinema, sculpture meet with 'Aglianico and other typical products the area.