MS01.01.03.B02.F10.011

-9-

slaves, to aid his craftsmanship. He, like Marie Tèrèsa Quan Quan, owner of
Yucca House, now a part of Melrose Planation near Natchitoches, Louisiana in
the eighteenth century, owned more slaves than the average white slavemaster
and no doubt felt comfortable within his social setting.

A unique and interesting aspect of Day's work is revealed through the
unusual patterns and motifs that embellish numerous stairways and architectural
interiors that he constructed. One handsomely carved post at a stairwell
ending takes on the likeness of an African statuette. Another stairwell is
gracefully ended by stationing a well designed post underneath the railing
which ^[creates a pattern that] may very easily be associated with the Chi Wara ^[antelope head] of the Bambara
people of Mali. Two masks serve as guardians on the mantle posts of a fire-
place in a Milton home that recall the classical treatment seen in ^[a] Baulè mask
from the Ivory Coast. However, there are no records of proof which indicate
that Day was at all acquainted with any of the African art forms to which his
work has been compared even though one is at a loss to explain their similarity.9
His death is recorded as 1861, a few years following the failure of his business.

Dutrevil Barjon of New Orleans was not as well know as Tom Day but^[it] is
evident that his furniture was admired and purchased by men of wealth throughout
the Delta region. An 1822 edition of the New Orleans City Director {Paxons}
lists him as a "free man of color", having the profession of furnituremaker. During
the same year, his furniture business was advertised in the following manner:

Furniture warehouse [underlined]

Articles of Furniture made in this city
No. 279 Royal Street Between Main and St. Phillip

"The subscriber having enlarged his establishment offers
to the public a large assortment of furniture made in this

[line]
9 Jones, Op.Cit., P. 64.