here). This little house is full of medievalizing quotations from Germany (towering roof), Tudor England (bay window), to Byzantium (arched windows). Well traveled (see bio here) Day's sketchbooks and travel notebooks show multiple sources of inspiration that could be recombined with each commission. His most celebrated public buildings--Penn Museum, Baptist Publication Building, Art Club of Philadelphia--show no shortage of compositional freedom.
This is how Patricia L Heintzelman Keebler describes the configuring process, in what remains the definitive study of Frank Miles Day, her 1980 Delaware dissertation “The Life and Work of Frank Miles Day," (Wilmington, Del.), p. 135:
But what about elements that could not be reconfigured in some general mode. What about the details? the moldings? and the ornament? How did Frank Miles Day design the clearly Byzantine ornament on the sandstone block below the springing of the large arch of the first floor? The answer is simple, Arne Dehli's Selections of Byzantine Ornament, published in New York in 1890, and found in Frank Miles Day's library. It came in two volumes and it offered folio after folio of Byzantine ornament derived predominantly from Venice (vol. 1) and Ravenna (vol. 2). My sketch, below, copies Dehli's pl. 33 that illustrates the acanthus foliage in the hexagonal altar in the nave of St. Mark's in Venice. Without any words or interpretive histories, this volume offered over 100 possibilities from which the designer could innovate. Over 100 plates illustrate the tensions between grapes, acanthus leaves and flowers, infinite variations of twists and turns. This is why Ruskin loved Byzantium. As a civilization it had loosed up the Corinthian order and reconfigured it in an ever-ending number of combinations, precisely what the 19th-century architect needed to do for himself.