Hove

Wulfsberg. Though he had taught a few classes
in religion at Luther College, he attained to his
theological professorship at Luther Seminary,
St Paul, Minn., in 1901 by delivering a paper
on "Justification/* prepared in his character-
istically thorough manner and delivered at a pas-
toral conference. When at the union of churches
in 1917, the seminary was dissolved and rees-
tablished under the name, Luther Theological
Seminary, he was retained as a professor in the
new institution and served until 1926, when he
was forced to retire on account of failing health.

Hove was widely known as an eloquent preach-
er. Possessing a strong voice, he at one time,
without mechanical aids, spoke to an audience of
10,000 and at another time to an audience of 15,-
ooo, and made himself heard. As a theologian he
ranks high in Lutheran circles. Although modest
and unassuming, he did not hesitate to take a
firm stand on the questions of the day, but he was
averse to carrying controversies into the press.
He preferred to work at the fundamentals rather
than on the peripheries, and besides his lecture
on "Justification," he wrote another on "Con-
science." An accomplished linguist, he read wide-
ly in original sources. In the later period of his
life his interest was centered largely in the field
of dogmatics, and he utilized his sabbatical year
(1925-26) in translating his notes on this sub-
ject from Norwegian into English, hoping that
they might be published some time in the future.
His son, Rev. O. Hjalmar Hove, completed the
work and in 1930 it was issued under the title,
Christian Doctrine. In this book of nearly 500
pages, which puts Hove in the front rank of
Lutheran theologians in America, he summarizes
Norwegian Lutheran dogmatics in its various
orthodox tendencies up to the present time.

Active in denominational affairs, he was in
1901 a member of the committee on calls in the
Norwegian Synod, and in 1908 and 1909 of the
committee on Christian education, having, no
doubt, much to do with the issuance in Nor-
wegian and English of the popular editions of the
Explanations to Luther's Catechism. From 1905
to 1910 he was a member of the Norwegian Syn-
od's committee on union. Although it was an-
other committee which brought about the Madi-
son Agreement in 1912 and the formation of the
Norwegian Lutheran Church of America at the
union in 1917, the earlier committee of which
Hove was a member had laid the foundations on
which the articles of union were built.

[0. M. Norlie, Norsk Luther she Pr ester i Amerika,

rS^j-ipjj (1914), translated and_revised by Rasmus
Malmin, ~ ---•"•• . ~ . . -., .

, O. M. Norlie, and O. A. Tingelstad, as Who's
Who Among Pastors in All the Norwegian Lutheran
Synods of America, 1843-1927 (1928); N. Luth. Pres-

Hovenden

ter i Amerika (srd ed., 1928) ; Lutheran Church Her-
ald, Jan. 10, 1928; Lutheraneren, Jan. 25, 1928.]

J.M.R.

HOVENDEN, THOMAS (Dec. 23, 1840-
Aug. 14, 1895), historical and genre painter,
was born in Dunmanway, County Cork, Ireland,
and died at Plymouth Meeting, Pa. His father,
Robert Hovenden, keeper of the bridewell at
Dunmanway, was of English descent; his moth-
er's maiden name was Ellen Bryan. Both parents
died when he was six, and he was placed in the
Cork orphanage. At fourteen he was apprenticed
to a "carver and gilder" of Cork with whom he
served a seven years' apprenticeship. His mas-
ter, recognizing the boy's talent for drawing,
sent him to the Cork School of Design. Coming
to America in 1863, Hovenden continued his
training in New York at the School of the Na-
tional Academy of Design. In 1874 he went to
Paris for further study, remaining for six years
and entering the ficole des Beaux-Arts, where
he worked under CabaneL Once more in Amer-
ica, he had a studio in New York for a time but
came to be more permanently associated with
Philadelphia, where he taught in the school of
the Pennsylvania Academy. In 1881 he married
a talented young American artist, Helen Corson;
their daughter, Martha Hovenden, became a
painter of merit. In his teaching, as in his own
painting, Hovenden remained the man formed
by the academic school of France. The fineness
and warmth of his personality, however, united
with a conscientious effort to help his pupils,
caused him to be greatly respected by them.
Among their number, one may recall the name
of Robert Henri [q.v.']. Hovenden was elected
to the National Academy in 1882. He met his
death while trying to save a little girl who was in
front of a railroad train near Norristown, Pa.

Hovenden was represented almost yearly at
the exhibitions of the National Academy of De-
sign and had a number of pictures shown at the
Paris Salon. Among his best-known works are:
"The Last Moments of John Brown'* and "Jeru-
salem the Golden" (both in the Metropolitan
Museum, New York), "Breaking Home Ties,"
"The Image-Seller, Brittany," "Bringing Home
the Bride," "Elaine," and "The Harbor Bar Is
Moaning." Numerous studies of negro life show
his interest in the colored people of the land of
his adoption, and his deep sympathy with their
story and that of one of their champions gives to
his picture of John Brown its very genuine inter-
est as illustration. It is the faithful pictorial pres-
entation of John Greenleaf Whittier's famous
verse on the death of the hero of Harper's Ferry,
and its sentiment has touched the imagination of
thousands.

269