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"I'd 'a bin mighty glad if Pud yer had er took airter pa's famerly, but frum the tip eend er her toe nails to the toppermust ha'r of her head she's a Wornum. Hit ain't on'y thes a streak yer an' a stripe thar hit's the whole bolt. I reckon maybe you know'd ole Jedge June Wornum; well, Jedge June he was Pud's gran'pa, an' Deely Wornum was her ma.
It was originally intended for the high cabinet piano, and a patent was taken out for it in 1826. But many difficulties arose, and it was not until 1829 that the first cabinet was so finished. Wornum then applied it in the same year to the small upright the piccolo, as he called it the principle of which was, through Pleyel and Pape, adopted for the piano manufacture in Paris.
But even Ruskin admits that the pictures of his last five years are of "wholly inferior value," with unsatisfactory foliage, chalky faces, and general indications of feebleness of hand. Wornum, in his Epochs of Painting, said: "In the last ten years of his career, and occasionally before, Turner was extravagant to an extreme degree; he played equally with nature and with his colors.
'Twa'n't long 'fore she taken a notion to come to my house, an' one mornin' when I was a-washin' up dishes, I heern some un holler at the gate, an' thar sot Mingo peerched up on the Wornum carry-all, an' of all livin' flesh, who should be in thar but ole Emily Wornum! "Hit's a sin to say it," continued Mrs.
I helt my head high, but I kep' my eye on the battlin'-stick, an' if she'd 'a made fight, I'll be boun' they'd 'a bin some ole sco'es settled then an' thar if ole sco'es ken be settled by a frailin'. But, bless your heart, they wa'n't never no cammer 'oman than what Emily Wornum was; an' if you'd 'a know'd 'er, an' Mingo wa'n't here to b'ar me out, I wish I may die if I wouldn't be afeared to tell you how ca'm an' supjued that 'oman was, which in her young days she was a tarrifier.
"Niggers is niggers, but them Wornum niggers was a cut er two 'bove the common run. I'll say that, an' I'll say it on the witness stan'. Freedom might a turned the'r heads when it come to t'other folks, but hit didn't never turn the'r heads 'bout the'r young mistiss. An' if Mingo here hain't done his juty 'cordin' to his lights, then I dunner what juty is.
At these gatherings, Mingo, bustling around and serving his guests, would keep the table in a roar with his quaint sayings, and his local satires in the shape of impromptu doggerel; and he would also repeat snatches of orations which he had heard in Washington when Judge Wornum was a member of Congress.
Ole Marster he ain't say nothin', but he tuck a fresh grip on de jimmy-john, en it got so dat, go whar you would, dey want no mo' lonesomer place on de face er de yeth dan dat Wornum plantation, en hit look like ruination done sot in. En den, on top er dat, yer come de war, en Clay Bivins he went off en got kilt, en den freedom come out, en des 'bout dat time Miss Deely she tuck 'n' die.
Upon a bench near the pulpit, in the section reserved for the coloured members, sat an old negro man whose face was perfectly familiar. I had known him in my boyhood as Mingo, the carriage-driver and body-servant of Judge Junius Wornum. He had changed but little.
Just before lecturing at Manchester, he wrote again on the subject to The Times; and in September his friend R.N. Wornum, Director of the National Gallery in succession to Eastlake and Uwins, wrote as we saw that he might arrange the sketches as he pleased. He returned from Scotland, and set to work on October 7th.
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