49 PRESERVATION

BRIEFS 

Historic Decorative Metal Ceilings 

and Walls: Use, Repair, and Replacement 

Kaaren R. Staveteig 

National Park Service 

U.S. Department of the Interior 

Technical Preservation Services 

It looks like a decorative-plaster ceiling, yet it is not 

susceptible to cracking. “Durable, handsome and 

fireproof,” it was touted as being cheaper and quicker to 

install than decorative plaster. It could even be used to 

cover deteriorated plaster. For owners of commercial, 

manufacturing, and institutional buildings, these 

attributes made pressed- or stamped-metal ceilings 

quite appealing in the late 19th and early 20th centuries. 

Commonly known today as “tin ceilings,” decorative 

metal ceilings were widely used during this era in 

such diverse structures as Main Street shops, offices, 

restaurants, and manufacturing buildings, as well as in 

churches, homes, stables, and even passenger ships. 

The term “tin ceilings” is actually a misnomer, perhaps 

stemming from the tradition that anyone who worked 

with sheet metal was called a tinsmith. The sheet steel 

commonly used for ceilings and walls was neither tinplated nor galvanized. While the derivation of “tin 

ceilings” is subject to debate, manufacturers and suppliers 

of the period did not use the term. A product of the late 

Industrial Revolution, decorative metal ceilings and walls 

Interior of the Sig Sautelle Circus Training House, South Main Street 

(State Route 11), Homer, Cortland County, NY (HABS NY-5599) 

were mass-marketed through trade catalogs, homeimprovement journals, and builders’ magazines, and 

even by Sears, Roebuck and Company. The product 

became available in many patterns, both plain and 

elaborate, and emulated the popular architectural 

styles of the period. It was used to repair and upgrade 

existing spaces as well as in new construction. A 

common substitute for decorative plaster and decorative 

woodwork, pressed metal was most widely installed as 

ceilings and cornices, and to a lesser extent as wainscots 

and wall finishes. 

To anyone window shopping along Main Street in the 

1920s, its popularity was readily evident. Stop inside 

these same buildings today and one often finds that this 

decorative, practical material still is in place. Though 

mass-produced and inexpensive, it turned out to be very 

durable. 

Today there is a resurgence of interest in this 

product, both as a historic finish material and for new 

applications. This Brief provides a short history of 

decorative metal for ceiling and wall applications; 

outlines information on appropriate maintenance and 

repair work; describes methods for paint removal; and 

includes guidance on replacement. While focusing on 

“pressed” or “stamped” steel, which was and still is the 

most common form of decorative metal ceilings, much 

of the same information applies to the lesser-used zinc 

and copper. The early use of decorative iron ceilings is 

discussed, but, because they are far less frequently found 

today, special treatments are not covered in detail. 

History 

Commercially available decorative metal ceilings 

appeared in the United States by the early 1870s, and 

initially were made of corrugated iron sheets—a product 

already in use in the roofing industry. Corrugation 

added stiffness to sheet iron, allowing the sheets to span 

longer distances and eliminating the need for sheathing 

1 
An illustration from the 

Philadelphia Architectural 

Iron Company trade catalog 

of 1872 showing a corrugated 

iron ceiling, paneled and 

ornamented with applied 

decoration. 

or closely spaced framing. As a ceiling treatment, it was 

marketed as a fire separation between floors. 

An early patented system for corrugated iron ceilings 

appeared in the Philadelphia Architectural Iron 

Company trade catalog of 1872. One style consisted 

of arched panels arranged in a series of alternating 

convex and concave arches, with the panels supported 

on an iron frame. The metal ceiling could also be 

installed flat, extending from beam to beam, and was 

available with ornamental applied moldings and center 

pieces. Their advertised projects included the Howell & 

Brothers Wallpaper Warehouse, Philadelphia; Chicago 

Tribune Printing House, Chicago; and Macoupin County 

Courthouse, Carlinsville, Illinois—all uses where fire 

protection was vitally important. 

The installation method that the Northrop Company 

of Pittsburgh patented in 1884 (#303,438) more closely 

resembled what would become the industry standard. 

Consisting of small panels of finely corrugated iron, the 

system was designed to be attached to furring strips 

laid across ceiling joists. The panels could even be laid 

in varying directions to create a decorative pattern. To 

cover the seams, special metal molding strips could be 

applied. 

In response to critics who disliked the “unfinished” 

nature of these early ceilings, companies offered 

more decorative elements that could be bolted to 

the corrugated iron panels and used to cover seams. 

These elements were commonly made of machinepressed sheets of zinc. A malleable metal, zinc could 

be easily and deeply embossed. Some companies 

offered decorative borders of tin plate as well. Applied 

decoration, however, increased the cost and slowed the 

installation, both contrary to the main selling points of 

metal versus ornamental plaster and wood ceilings. Few 

examples of these ceilings remain today. 

In the 1890s, significant advances in sheet steel 

production that reduced costs and increased availability 

revolutionized the metal ceiling business. Stronger 

and able to be produced in larger and thinner panels 

than iron, sheet steel became the industry standard. 

Even more significant, sheet steel could be die-pressed 

or stamped to create ornamentation as part of the 

panel, eliminating the need to attach separate pieces of 

ornamentation. Sheet steel also held-up better in the 

stamping process. 

In 1888, the W. E. Kinnear Company of Columbus, Ohio, 

purportedly became the first company to patent and 

offer pressed decorative steel panels instead of relying 

on sheet iron with applied decoration. Other similar 

patented systems soon appeared. 

Sheet metal and roofing companies already in business 

making sheet metal roof cornices, storefronts, and 

roofing soon saw a market opportunity for decorative 

steel as an interior finish in a wide range of buildings. 

The most common size of the decorative panels was 

24” wide with a length of 24”, 30”, 48” or 96”. While 

longer panels were readily available, the 24” and 48” 

lengths remained predominant for ceilings, while 

wainscots utilized 30” and cornices the longer lengths. 

According to some longtime manufacturers, panel 

size was a function of the press and die size. Most 

panels were intended to be painted to imitate plaster 

or wood. Besides factory-primed paint coatings, a few 

manufacturers off ered factory-applied finish coats and 

baked-on finishes. 

By 1911, the Edwards Manufacturing Company of 

Cincinnati was producing 28-29 gauge mild-steel 

decorative panels, formed between dies with a powerful 

hammer blow, a process said to produce a crisper 

repoussé than the slower hydraulic pressure method. 

By using large trip hammers, higher reliefs could be 

achieved, enabling more elaborate patterns as well as 

additional variety in moldings and other pieces. After 

die-stamping, the panels were trimmed over a template 

to ensure a perfect fit. 

Depending upon the manufacturer or supplier and the 

complexity of the job, a contractor or building owner 

could measure the rooms where metal ceilings and 

walls were to be used, specify either the overall pattern 

or the specific components from the manufacturer’s 

trade catalog, and, along with the room measurements, 

telegram the order directly to the manufacturer or 

supplier. In addition to providing detailed instructions 

on how to measure a room, many manufacturers and 

suppliers offered design services and even provided 

installation. 

Orders were shipped with a parts list and assembly or 

“working” plans for the installer. Some off ered furring 

strips, nails, wood blocking for high-relief cornices, 

and even a special line of paint for pressed metal to 

complete the order. Once installed in a building in 

town, the product helped to sell itself. It was new; it was 

appealing; and it could serve a broad range of purposes 

and applications. 

Decorative metal ceilings and walls enriched the most 

humble of buildings. The wide range of available 

decoration and patterns meant that the desired look 

of fine plasterwork or elegant woodwork could be 

achieved at much lower costs with less skilled labor and 

2 
Early catalogs provide how-to instructions for "fire-proofing" 

beams of both metal and wood, incorporating them into decorative 

ceiling patterns. 

installation time. While complex patterns in commercial 

applications required skilled installers, a handy 

homeowner could measure a room, choose a pattern, 

and order a ceiling by mail, and, upon delivery, read the 

enclosed installation instructions and then install a new 

decorative ceiling in his house, or so it was advertised. 

The early 1900s witnessed an unparalleled appetite 

for decorative metal ceilings. From small towns to big 

cities, from manufacturing lofts to department stores, 

pressed-steel ceilings became commonplace. By the late 

1920s, the popularity of metal ceilings and walls began 

to wane as ”contemporary” design styles preferred less 

decoration and as new building products created greater 

competition. Trying to keep abreast of market changes, 

manufacturers introduced “modern” designs that were 

far less ornate and reflected the architectural trends of 

the time. The Great Depression led to the collapse or 

consolidation of numerous plants, and World War II 

accelerated the demise of the industry. During the war, 

non-essential new construction nearly came to a halt, 

and sheet metal was diverted for military use. Most of 

the remaining pressed-metal molds for ceilings and trim 

were melted down for the war effort. 

By the early 1950s, the taste for simpler interior 

treatments continued, and the market for this product 

largely disappeared, despite the efforts of the few 

remaining companies to adapt and revive the business. 

Soon, production essentially ceased. The increasing 

popularity of historic preservation beginning in the 

1970s and a renewed interest in decorative steel ceilings 

enabled a small but viable market to re-emerge. Several 

manufacturers responded and, with designers helping 

to rekindle an interest in decorative sheet metal, found a 

market in the rehabilitation of older buildings. 

Manufacturing 

While early decorative metal ceilings were made of 

iron or iron dipped in molten tin, steel overtook iron by 

the 1890s due to its lower cost, greater strength, and its 

ability to be die-pressed into thinner, larger sheets with 

greater decorative relief. Most decorative metal ceilings 

and walls that we see today are steel. Though zinc 

and copper ceilings were available, typically by special 

order, they were most often used in elaborate public, 

commercial, or residential spaces. 

While custom-designed decorative pieces could be 

ordered, this was a costly process, due to the need to 

create molds and then dies for individual parts. More 

often, manufacturers would rely on existing dies to 

create a stock line of pieces that could be mixed and 

matched into a series of different designs. They would 

advertise the different overall designs as well as the 

availability of individual pieces so that a purchaser 

could create his or her own room pattern using stock 

components. Since manufacturers usually published 

their unit costs for each piece that comprised the overall 

pattern, pricing was easy to understand. Stock room 

patterns were also advertised with cost per square (100 

square feet). The larger the room, the cheaper the cost 

would be per square. Some manufacturers advertised a 

discount to the trade. 

The production process began with flat sheets of steel 

that large manufacturers made themselves and that 

smaller companies purchased from suppliers. Presses 

or stamping machines formed the decorative metal 

components, after which shearsmen trimmed the pieces 

to size. Each piece was then checked for “squareness.” 

Rope drop hammers at the turn-of-the century factory in Nevada, 

Missouri, that W. F. Norman Corporation still uses to stamp 

individual panels, resulting in high quality pressed metal sheets. 

(Photo: W. F. Norman Corporation) 

3 
 

Stamping molds used in drop-hammer presses began on 

the artist’s design table. Once a design was approved, it 

was transferred from a full-sized paper drawing to a slab of 

molding clay and sculpted into a 3-dimensional model. The 

artist then cast it into plaster, first in a shell cast making a 

negative, and from that a positive, replicating the original clay 

model. This last mold was carefully leveled and smoothed and 

coated with shellac. Molten iron was next poured over the 

positive plaster mold to create a negative metal die. After the 

iron die was cooled, milled, and smoothed, workmen poured 

liquid zinc over the bottom die to make a separate positive 

metal mold. When cooled, the 2-part die was fastened to the 

hammer heads of the press with the strong iron die on the 

bottom and the more malleable zinc die on the top. (Photo: 

W. F. Norman Corporation) 

Since nearly all pressed-metal ceilings and walls were 

to be painted, the individual pieces were factory primed 

with a base coat of white lead paint, although at least 

one manufacturer by 1942 was using an aluminum 

primer. Some manufacturers offered fi nished-coat colors 

as varied as colors of plaster ceilings. Factory-applied 

powder coatings were introduced in the late 1940s and 

Field 

Frieze 

Moulding 

Cornice 

Filler 

Anatomy of a decorative metal ceiling and upper wall. 

early 1950s, just as decorative metal walls and ceiling 

were disappearing from the marketplace. 

The Ceiling Design and Its Parts 

Pressed-metal ceilings generally consisted of four 

principal parts—a field, molding around the field, filler, 

and cornice. A number of manufacturers offered fillers 

that included the molding, thereby creating a threepart ceiling. Some ceilings, such as those emulating an 

overall beaded board or a Spanish-stucco fi nish, could 

avoid the filler and molding, and instead terminate 

the field with a suitable cornice. The ceiling design 

was often supplemented by decorative center pieces, 

special corner pieces, and even pieces to accommodate 

ventilation and lighting. The field was made of square 

or rectangular metal tiles, typically stamped with a floral 

or geometric pattern and cut to modular sizes. 

The metal tiles were commonly referred to as plates 

and panels, with individual plates typically measuring 

24” x 24” and panels being 24” x 48”. Plates also came 

in larger sizes in multiples of two feet. Fields differed 

in complexity, with some tiles representing complete 

motifs in themselves and others presenting only part 

of a larger design. Whether complex or simple, the 

motif was repeated throughout the field and could be 

expressed in the border around the field and the cornice. 

The depth of the repoussé of the fi eld patt erns typically 

ranged from 3/8” to 3/4”. 

Moldings, fillers, and combination moldings and fillers 

formed the perimeter around the field, and typically 

complimented the pattern of the field. The fi llers, and 

at times even moldings, came in a variety of widths 

and completed the overall design while compensating 

for irregular room sizes. This avoided cutt ing the field 

tiles, which would compromise the decorative pattern. 

Moldings, fillers, and molding/filler combinations came 

in relatively long lengths, with 48” and 96” being the 

most common. 

Many ceilings included a cornice, which could have a 

wide range of elaboration. While most cornices were 

stamped from a single strip of sheet metal, cornices 

could extend a considerable length down the wall by 

adding additional moldings and borders. Cornices 

helped dress any protruding structural beams and 

reinforced the sense of depth. Coffered elements could 

also be incorporated into the design of the ceiling that 

likewise could incorporate the cornice. 

The overall design and individual pieces comprising the 

ceiling and walls were commonly classified as Classical, 

Rococo, Colonial, Greek, Gothic, and Mission. By the 

l930s simpler Modern patterns were marketed. While 

many ceilings were chosen from room patt erns shown 

in catalogs, Americans also freely combined a panoply 

of styles and patterns to create new designs. Patterns 

would have repeats as small as 3” but those with repeats 

of 12” or 24” were more common. 

4 
 

 

As the industry grew, wall treatments, including special 

pieces for partially enclosed stairs, were also marketed. 

Usually referred to as “side walls” or “sidewalls” to 

differentiate them from ceiling components, they were 

commonly based on the traditional tripartite wall design 

of frieze, field, and wainscot. Walls could incorporate 

a chair rail, and even a metal baseboard, though more 

often a wood baseboard was used for practical reasons. 

Decorative metal walls were mostly used in tandem with 

metal ceilings. While never matching the popularity 

of metal ceilings, metal sidewalls did enjoy varied 

applications, from homes to factories to even churches. 

Certain pressed-metal wall patt erns, particularly 

beaded boards, ceramic tiles, and stucco fi nishes, were 

successfully marketed for use in bathrooms, kitchens, 

and similar applications where there were special 

sanitary concerns. Wall pieces tended to be larger than 

those commonly used in ceilings. A simple grid pattern 

that emulated the concave grout lines of square ceramic 

tile was available in sheets as large as 24” x 96” for ease 

of installation and to minimize seams. 

Installation 

Understanding how historic decorative metal ceilings 

and walls were installed is crucial to maintaining, 

repairing, and replacing them today. First, it is 

important to identify the metal used. Early ceilings 

of iron panels or tiles usually were not overlapped, 

but rather butt-jointed end to end, thereby creating 

noticeable seams. Where a more fi nished appearance 

was desired, special molded strips were applied over the 

seams. With steel and even copper ceilings, individual 

pieces were usually overlapped, thereby minimizing 

seams. Another difference between early iron ceilings 

and later steel ceilings is the manner of the decoration. 

Unlike steel where decoration is embossed through 

machine stamping or pressing, in iron the decoration 

principally was applied separately and made from 

malleable materials such as zinc. The decoration was 

bolted rather than nailed to the iron. 

Ceilings 

Decorative pressed-steel ceilings were mostly laid over 

lathing strips that were nailed to joists and beams. 

The lathing was nailed in grids that matched the 

locations of the panel seams. Steel ceilings could be 

laid directly over existing wood ceilings and even over 

plaster that was attached to lathing. If the plaster was 

deteriorated, lathing strips for the metal ceiling could 

be applied directly over the plaster. For small rooms, 

manufacturers recommended applying 1/2” wood 

sheathing over the whole ceiling for ease of installation. 

Common lathing sizes included 7/8” x 7/8”and 7/8” x 1 

1/4”, though in fact they typically ranged from 5/8” to 1 

3/4” in thickness and from 1-1/4” to 1-7/8” in width. 

Installing the lathing correctly was critical both for 

optimum appearance as well as for sound attachment. 

A 1928 Berger Manufacturing Company catalog shows the 

recommended ceiling and sidewall support structure beyond the 

pressed metal tiles. 

In part, probably mainly to avoid open butt seams, 

panels were designed to overlap their neighbors so that 

nails were driven through the perimeters of two or more 

adjacent panels. Depending on the size of the tiles, some 

were secured just at the corners, while large or heavier 

tiles required additional edge nailing. Panels usually 

came with holes set every 6” along the edges. Offsized panels and specialty pieces, such as factory-made 

cornice corners, had nail holes located where needed. 

This type of attachment required that the lathing be 

accurately installed and consistently level. Lath strips 

ran perpendicular to the joists to which they were 

attached, while shorter headers and cross strips (needed 

to complete the nailing grid) ran parallel to the joists and 

were attached to the lath. If the joists were 24 inches on 

center, the wood headers for 24” tiles could be attached 

directly to the joists, which is one reason 24” tiles were 

so popular. For 12” tiles, lathing was usually spaced 

every 12 inches. Lathing for larger or more deeply 

ornamented tiles was handled somewhat differently. To 

ensure that the lathing grid was level, low spots were 

filled in with wood shims and high spots were smoothed 

out. 

The field usually was installed first, starting at one 

corner of the room, making an effort to keep the lapping 

edges running from the light source in the room. There 

were special considerations where rooms were of 

irregular dimensions that could not be compensated 

simply by the use of the filler around the field. 

As the industry matured, fi eld patterns evolved that 

featured re-pressed beads along the edges of each plate 

and die-cut nail holes located within raised buttons. 

This detail within an overlapping seam provided for 

ease of installation and a clean, tight-fitt ing connection 

that was also touted as dust-proof. Once painted, the 

overlaps and nail heads became less apparent from the 

floor view. 

5 
 

 

There were other types of installation methods used 

with steel ceilings. In an effort to hide seams and 

simplify installation, some manufacturers offered 

interlocking fi eld patterns whereby each piece was 

nailed only on two sides and used an interlocking edge 

to connect to tiles on the other two sides, thus covering 

the nails. Irrespective of how the pieces in the fi eld were 

fitted, the perimeter fillers were usually designed to fit 

under both the molding, if used, and the cornice. Thus 

the filler could be installed after the field was in place. 

The filler, molding, and cornice pieces usually ran in 

longer lengths than ceiling tiles and, therefore, had 

fewer seams. The cornice usually was the last major 

portion to be installed, and, since installed at an angle, it 

often required additional wood blocking. Special corner 

pieces were available for cornices and, if used, avoided 

the need to purchase mitered corners or to hand-miter in 

the field. 

Nails for lathing or sheathing varied in size depending 

on conditions, such as the thickness of the lathing and 

whether the new ceiling was being installed over an 

existing one. When nailing the metal directly to the 

furring, 1” oval- or flat-head nails were commonly used. 

When installing a new ceiling in a room that would 

have hanging ceiling lights, buyers could note the 

approximate location for the lights so that the supplier 

could, depending upon the pattern of the ceiling, 

provide a layout with special center pieces where the 

drops were to be installed. Otherwise, the centers of 

individual field pieces could often be cut out so that 

eletrical wires needed only be moved a short distance to 

align the fixture on the center of the tile. 

Walls 

The support system for decorative steel walls varied 

from that used on ceilings. Manufacturers generally 

recommended 1/2” sheathing for walls, which provided 

a more rigid substrate than lathing. Alternatively, 

sheathing could be used along the lower wall that was 

more subject to wear. Wall lath was usually 2 inches in 

width, wider than that of the ceiling grid, and installed 

every 6 or 12 inches. Walls were installed from the 

bottom up. Where wainscoting was used, a wood or 

decorative-metal chair rail was applied last and covered 

the seam between the metal wainscoting and the 

sidewall above. 

If there was no separate wainscot, the sidewall extended 

from the baseboard to either a frieze at the top or 

directly to the cornice. For rooms with 8- or 9-foot 

ceilings, tall sidewall panels were available that avoided 

horizontal seams. Even these panels often included 

in their design a high dado decorating the lower half, 

creating the appearance of a wainscoting. For taller 

ceilings or patterns that required horizontal rows, 

skilled contractors installed wall tiles with lapping edges 

upward, above eye-level, and downward at or below 

eye-level to avoid small shadows at the seams. There 

were special techniques in laying out the sidewalls 

around windows and doors to avoid, where possible, 

awkward breaks in the pattern. For rooms with 

numerous windows and doors, a simple wall pattern 

worked best. For inside and outside corners of walls, 

many of the wall tiles could even be shaped, usually 

with a bending brake, to fit the corners. 

Condition Assessment 

Decorative metal ceilings are highly durable in 

most interior applications. Typically, damage and 

deterioration occur because of water infi ltration either 

from exterior sources or leaking pipes overhead. Such 

damage usually is easily observed and for metal ceilings 

takes the form of water and rust stains, peeling paint, 

and metal fl aking, pitting, and holes—either in small 

areas or more widespread—from corrosive action. 

Similar damage can occur from high humidity and 

condensation. It is important to eliminate sources of 

water infiltration, improve air circulation, and reduce 

levels of humidity, depending upon the conditions. 

Ceilings need to be checked to see if 

they are firmly secured. Lathing can 

deteriorate from prolonged water 

damage and termites, and the nails 

that secure the metal to the lath can 

corrode. While loose metal pieces, 

sagging, and actual failure of one or 

more portions of the ceiling are often 

readily evident, close-up inspection of 

the ceiling is recommended. 

The structural integrity of ceilings 

can be negatively affected by other 

conditions. When metal ceilings were 

applied directly over older plaster 

ceilings in poor condition, installers 

were instructed to use a different 

installation technique. By installing 

Some seams were easily disguised with interlocking patterns, whereas others, like butt joints, 

remained quite visible. Historic decorative metal ceiling at the LaSalle/Van Buren (CTA) station, 

Chicago, IL. (Photo: Kaaren Staveteig, NPS) 

6 
Prior to repair, a section of the pressed metal was removed to expose 

the condition of the plaster and lath and to document the earlier 

finish. (Photo: Kaaren Staveteig, NPS) 

wider and more narrowly spaced lath over the existing 

ceiling, and anchoring it with nails long enough to grab 

the joists, the wood grid would also help secure the 

existing plaster ceiling. Where this was not done, and the 

metal was placed directly on the plaster, the weight of the 

deficient plaster ceiling can place pressure on the metal 

ceiling, causing sagging and other problems. 

Metal ceilings can be damaged by later penetrations from 

piping and conduit, resulting in loose and defl ecting tiles. 

Where dissimilar metals are in direct contact with the 

metal ceiling, galvanic corrosion can occur in localized 

areas. Plumbing pipes, electrical fixtures, and other 

apertures over time cannot only affect the structural 

soundness of the ceiling, but also destroy the visual 

continuity of the ceiling pattern. 

By their location, decorative metal sidewalls and their 

enclosed stairs are particularly subject to wear and abuse, 

resulting in unsightly dents, compressed areas, and 

penetrations, especially where the metal was secured 

directly to lathing rather than continuous sheathing. 

These conditions tend to occur at the lower sections. 

Deferred maintenance, poor workmanship, lack of heat 

in formerly conditioned spaces, high moisture, and water 

penetration can result in peeling paint. Where the paint 

is peeling in isolated areas, simple tests can determine 

whether the paint on the rest of the ceiling is sound. Care 

must be taken because of the likely presence of leadbased paints (see sidebar). When in doubt, a test for lead 

paint is recommended and may be required. 

Cleaning and Maintenance 

Properly caring for historic decorative metal ceilings and 

walls is important to their preservation. While ceilings 

are likely to receive less periodic repainting than walls, 

unlike walls, dirty ceilings tend to be repainted rather 

than cleaned. Excessive paint buildup can obscure the 

decorative detail in the pressed metal. Where dust 

and dirt buildup is evident, cleaning may be all that is 

Working with Lead-Based Paint 

Because of the hazards of lead poisoning, special 

care must be taken when working with metal ceilings and walls containing lead-based paint. Leadbased paints commonly were used as primers for 

historic pressed metal and in general use for onsite 

finish work. It is a safe assumption that pressedmetal walls and ceilings with old paint contain one 

or more layers of lead-based paint. 

There are safety requirements that apply to contractors and their employees undertaking work 

involving lead-based paint. Since young children, 

pregnant women, and the elderly with certain 

medical conditions are particularly at risk from 

lead poisoning, the Environmental Protection 

Agency issued the Lead Renovation, Repair and 

Painting Program (RRP) rule, which applies to both 

rental and owner-occupied housing, and childoccupied facilities, such as day care centers, where 

lead paint is present. Where a paid contractor is 

being used in these buildings and more than six 

square-feet of lead-based paint is being disturbed 

in a room, RRP requirements apply. For example, 

the rule applies where loose lead-based paint is 

being removed by a contractor throughout a metal 

ceiling but would not apply when repainting the 

ceiling involves less than six square feet of loose 

paint in one room. While RRP does not apply to 

most commercial buildings and to houses where 

homeowners do the work themselves, it is generally good practice to follow the RRP rule. Other 

federal, state or local requirements may apply 

where lead paint is present. 

In general the RRP rule provides, among other 

requirements, that: 

(a) The work area must be contained during the

job to control the dust and debris prior to removal

and that the dust and debris must be disposed of

in a safe and prescribed manner.

(b) Certain high-risk paint removal methods are

prohibited and certain others strictly controlled.

(c) Workers must be trained in dealing with leadbased paint and use appropriate clean-up procedures, and contractors must be trained and certified to work with lead-based paint.

(d) Building occupants must be informed of the

hazards of lead-based paint and safety measures

required during the work by the contractor.

(e) Follow-up testing must take place upon work

completion.

For more information -- htt ps://www.epa.gov/lead/renovationrepair-and-painting-program 

7 
 

Maintenance and 

Repair Precautions 

Electrical power to the room should be turned 

off before inspecting ceilings and walls. As part 

of the inspection, adjacent wiring, outlets, and 

fixtures should be examined for exposed wiring 

and signs of electrical shorts and should later 

be tested with the power on. This is important 

because steel and copper decorative metal are 

also good electrical conductors. 

Appropriate gloves and protective eyewear 

should be worn when working with metal ceilings and walls, especially when cutt ing metal 

or making repairs, which can produce sharp 

edges. 

The backsides of old ceilings may have collected rodent or bird droppings over the years. 

Where ceiling components are being disturbed, 

appropriate protective measures should be employed and steps taken to minimize air-borne 

particles to avoid potential illness. 

Care should be taken when working with leadbased paint. (See sidebar on page 7) 

Most chemical paint-removal products are 

hazardous, and their use may be restricted by 

federal, state, or municipal regulations. Where 

required, appropriate respirators and other 

safety precautions should be used. 

necessary. If the paint is sound, yet the surface is sticky 

and dirty, a solution of mild dishwashing soap and 

warm water applied with a wet rag and then wiped 

dry usually is effective. Cleaning methods should first 

be tried in a small, less prominent area, to ascertain 

whether or not they aff ect the finish or if several 

applications may be necessary, especially for areas 

involving deep grease spots. 

Cleaning provides an opportune time to examine 

whether any of the exposed nails securing individual 

metal pieces have worked loose. Deficient and missing 

nails should be replaced. Touchup metal paint should 

be used on the nail heads, as needed. With small areas 

of old water stains, apply a stain-blocking primer prior 

to repainting. Mild staining from light rust may merit 

removing the paint back to the metal surface and then 

removing the surface rust with fine steel wool or crocus 

cloth. Surrounding paint edges should be feathered by 

using a fine sandpaper or wet sanding into the paint so 

as to taper it into a fine edge. A rust-inhibiting metal 

primer should then be applied to the exposed surface 

before applying fi nish coats. 

Metal ceilings can be greatly impacted by later penetrations from 

piping, electrical, and other such work, resulting in loose tiles and 

deflections in the ceiling. (Photo: Kaaren Staveteig, NPS) 

Repair 

Little has been written about repairing decorative metal 

ceilings and walls, and there are fewer prescribed 

techniques. The most common type of repairs involve 

holes and dents, such as those from light fixtures, 

mechanical pipes and ducts, and plumbing and 

sprinkler pipes. While the location of these features and 

fixtures may change over time, the holes in the ceiling 

remain. 

Methods for repairing and patching holes are similar to 

those used in certain architectural sheet-metal work and 

in automotive body repair. Nail holes can be soldered 

or fi lled with fiberglass-based patching products. Holes 

that are less than 1/2” can be filled using automotive 

body filler, then sanded to match the adjacent surface. 

Where holes are larger than 1/2”, several methods can 

be used. One method is to cut a piece of sheet metal to 

a shape that will cover the hole and at the same time 

can be inserted in through the hole to the backside and 

adhered to the back of the metal panel. The new patch 

should cover the full extent of the hole and be sealed 

along the inside edges before priming and painting. 

This method eliminates the hole, though still reads as a 

patch. Another method is to insert a backing material 

into the hole and secure it in place. Then spread and 

smooth filler material edge to edge. Whether working 

with pressed-metal or older iron ceilings, sheet metal 

used in patching should be of a similar metal to avoid 

galvanic corrosion. 

Dents in embossed zinc and steel elements are more 

problematic because they are difficult to draw out 

and, when working with a ceiling in place, there is no 

access from behind. With early installations involving 

decorative zinc elements bolted to an iron ceiling, it 

may be possible to detach the decorative element and 

work out the dents. For embossed steel ceilings whose 

patterns are still available or if a matching piece can be 

salvaged elsewhere from the building, a patch can be 

cut large enough to overlap the dent and then glued in 

place with an adhesive. After the adhesive has dried, 

continued page 12 

8 
Paint Removal 

Removing paint from historic pressed-metal walls and 

ceilings is not a simple task. While multiple layers of 

paint applied over time may obscure some of the metal 

detail, generally such a condition does not merit in 

itself removing the paint. Even with softened lines and 

some loss of detail due to paint build-up, most historic 

metal ceilings and walls retain their overall historic 

design and character. 

The need to remove old paint usually depends upon 

metal condition and paint adhesion, applicable government requirements regarding building use and leadbased paint, and whether the ceiling is being temporarily disassembled to facilitate other on-site work. Since 

lead-based paint was widely used on pressed-metal 

walls and ceilings prior to 1978, paint removal should 

follow applicable government requirements concerning 

worker safety, containment, and proper disposal. (See 

page 7) 

Before considering appropriate methods for removing paint, it is important to identify the type of wall 

or ceiling metal, as this may influence the choice of 

the paint-removal technique. While steel is by far the 

most common material in historic ornamental walls 

and ceilings, other metals and metal combinations can 

be encountered, including iron with zinc ornamentation, zinc, steel with zinc decoration, and even copper. 

Besides the metal itself, it is worth considering the 

sheet-metal thickness or gauge, since this varied somewhat by manufacturer and by material, and the metal's 

current condition. A thick build-up of paint can hide 

rusting from behind that has thinned the metal or created small pin holes. 

Paint removal methods also vary depending on whether 

the work is to be done in-situ or under shop conditions 

where the pieces are removed and then paint stripped. 

Paint removal typically involves a combination of 

hand scraping and wiping, wire brushing, and use of 

a chemical release agent. Some methods, such as that 

described as a freeze/flex method, are alternatives to the 

use of chemicals. 

Once the nature and condition of the metal are identified, the need for paint removal established, and the 

decision made whether to temporarily disassemble the 

ceiling, the next steps are to document the historic 

paint coatings (where there is possible interest in repainting to match the historic finish), and then choose 

the best means of removing the paint. 

In-situ methods of paint removal 

using chemical strippers 

Prior to undertaking full-scale paint removal, several 

chemical strippers should be tested for comparison in an 

inconspicuous area typical of the overall surface condition. This test will help establish which chemical stripper performs best without damaging the metal, and help 

determine the necessary application thickness of the 

solvent-based paste and the length of time it should be left 

to work. Also the test will help establish whether several 

applications will be needed. Proper safety equipment 

should be used, including eye protection, breathing mask, 

and gloves. Containment and other safety procedures 

when dealing with lead-based paint need to be followed as 

well. 

One of the most common chemical removal processes is 

a chemical peel. This method typically requires application of a 1/8"- to 1/4"- thick solvent based paste with 

either a trowel or specialized spray equipment. The 

paste is then covered with a fibrous laminated cloth, 

polyethylene side facing out. This material is left in 

place up to 24 hours, as determined from the sample 

test findings. Remove the paint layers by sliding a 

taping knife along the edges of the dried paste, easing 

the paint, paste, and cloth away from the surface. The 

remaining chemicals should be removed with a sponge 

and clean water before applying a neutralizing agent 

on the surface to return it to a neutral pH condition for 

best paint results. As with the chemical paint remover 

itself, it is important to select a neutralizer safe to use 

on the specifi c metal. 

An alternative approach relies on multiple applications 

of chemical stripper, using a nylon brush (4” typical) 

After applying a solvent-based paint to the metal, a laminated 

cloth/paper is applied during the chemical-peel process. (Photo: 

NPS) 

9 
 

or specialized spray equipment. The paste is left on from 

four to 24 hours, depending on the required activation 

time. To remove, scrape the softened paint and chemicals 

from the surface. Repeat this process until the metal surface is exposed. Scrub clean with water and a stiff nylon 

brush; thoroughly wipe dry; neutralize, if needed; and 

then coat with a rust inhibitor such as a zinc-rich primer. 

(NOTE: Using an oven cleaner to remove paint from 

decorative metal ceilings is a technique that appears in 

social media. While oven cleaners are supposed to be safe 

on metal, they are designed for ovens that are porcelaincoated. When used on old pressed metal and left for more 

than a few hours, irreversible pock marks may appear. If 

used only on a small area, proper safety procedures and 

protective gear for working with lead paint and harsh 

chemicals need to be followed. When working overhead, 

eye protection is critically important.) 

“Eco-friendly” paint strippers 

In recent years a number of biodegradable paint removers have appeared on the market that are characterized 

as “eco-friendly.” Even with these strippers, some of 

which may include solvents, protective clothing should be 

used and appropriate safety procedures taken. Whether 

marketed as citric or soy-based, or simply as biodegradable, these products are applied as coatings or gels similar 

to traditional chemical strippers. The time required before 

removing the coating varies according to product and the 

number and types of paint coatings. Like most chemical 

strippers, they require considerable handwork to remove 

paint build-up and to prepare the surface for repainting. 

Several require a separate application of a cleaning agent, 

such as mineral spirits, to remove residue prior to repainting. At the time of this publication, litt le information 

was available on their use specifically on pressed metal, 

manufacturers' product data and related information 

should be carefully researched well in advance of testing. 

It is important to both test the removal of the paint as well 

as the preparation of the surface for repainting. Testing 

can include actual repainting, allowing ample time for 

the paint to cure prior to performing a paint adhesion test 

(see ASTM for applicable paint adhesion test on metal 

surfaces). 

Water-based blasting 

High-pressure water-based paint removal systems should 

not be used on pressed metal. Some water-based paint 

removal systems use very low-pressure water (25-35 psi at 

the surface) along with a mild abrasive element. Generally, even these are not recommended for widespread 

use on in-place decorative metal ceilings. Such methods 

may have limited applications, such as on walls where the 

individual panels are large and there are fewer overlapping 

joints. Even so, there are risks involved. Potential damage to pressed metal where a water-based abrasive paint 

removal method is used includes the appearance of pockmarks, pin holes, or worse. Also, water seepage from behind 

can occur, leading to flash rusting. 

Dry abrasives (sandblasting, walnut shell blasting, soda blasting, and other dry abrasives) 

Sandblasting, walnut shell blasting, and most other dry 

abrasives applied under air pressure will most likely 

damage the historic metal and should not be used. Since 

lead paint will be present, government regulations may 

prohibit the use of specific techniques such as sandblasting 

to remove paint from ceilings and walls in schools, rental 

residential properties, and other building-specifi c uses, 

and by contractors working in owner-occupied residential 

buildings. Both soda and sponge media with mild oxide 

grit may be used in a limited capacity under very controled 

conditions to remove paint from pressed metal. Careful 

testing is essential, and, if selected, quality control at the 

site is paramount. 

Dry-ice blasting 

There is limited experience with the use of dry-ice blasting 

to remove paint from pressed-metal ceilings. Dry-ice pellets 

are sprayed under pressure against the painted surface, 

causing the paint to lose adhesion and drop to the ground 

for collection and disposal. The advantage over some other 

techniques is that the dry ice changes to a vapor, leaving 

only the paint debris to be cleaned up. Due to its limited 

track record on historic pressed metal, it should be carefully tested by removing several panels for testing offsite. 

As part of the testing, varying air pressures and distances 

from the spray nozzle to the metal panel should be used to 

help ascertain if the surface of the metal is being damaged. 

If selected, it should be tested in an approved area that will 

be used as the control for the rest of the project. Since this 

method requires a trained contractor with special equipment, its use on small-size projects is not cost eff ective. 

Heat 

Propane torches should not be used on metal ceilings and 

walls, in part because of the considerable risk that they may 

ignite any hidden combustible materials, as well as vaporize the lead and other paint chemicals. Heat (hot air) guns 

are generally not recommended because of the same reasons. When used on the lowest setting and at a controlled 

distance, there are limited instances where heat guns might 

10 
 

Restoring a metal ceiling or wall surface often requires several 

different techniques. Using a chemical release agent typically 

requires additional hand scraping, wire brushing, and sanding to 

completely remove the paint. (Photo: NPS) 

be used with considerable caution to remove paint. Ample 

monitoring time must be scheduled at the end of the day 

in case of smoldering debris, wood lath, or other materials 

behind the metal. If a heat gun is used, it is recommended 

that a monitored fire alarm sensor/s be placed at the end of 

each day in the immediate area of the work as a precaution. 

Heat guns can be more safely used under shop conditions 

since risks of adjacent material being ignited can be carefully controlled. Heat guns should be used on their lowest 

settings to minimize the vaporization of paint chemicals, 

including lead. Heat guns tend to work best on heavy 

paint build-up. 

Hand scraping, wire brushing, and sanding 

Careful hand scraping with a chisel and/or wire brush can 

be effective for removing stubborn paint in the crevices of 

the repoussé, especially when used in combination with 

other paint removal methods. To capture lead and paint 

debris, only wet hand sanding and/or an electric sander 

equipped with a HEPA-filtered vacuum att achment should 

be used. 

Methods for removing coatings under shop 

conditions 

The temporary de-installation of historic metal ceilings 

and walls to allow for other rehabilitation work presents a 

perfect opportunity to remove paint off-site or in a controlled on-site space. Such shop conditions provide an opportunity for better control of the work and are easier than 

overhead ceiling work. 

Once the installation pattern has been recorded and disassembled, each piece should be inspected for any damage that 

may preclude its reuse. If the method for appropriate paint 

removal has not been established by this time, damaged 

pieces can be used for testing. 

Chemical removal 

Appropriate chemical methods to remove paint from walls 

and ceilings in place can also be used in the shop, usually 

with much better control. In addition, some chemicals may 

be used in a bath solution (“dip stripping”) to soften the 

paint so that it can be scraped off by hand. Through proper 

testing, steps can be taken to guard against fl ash rusting, 

on the steel surfaces. 

Thermal contraction—freeze/fl ex method 

Freezing techniques have been successful in removing 

paint from pressed metal (see Fort Baker case study). The 

demounted pressed-metal panels are frozen in commercialsized freezers. The metal contracts at a greater rate than 

the paint, which breaks the adhesion bond between the 

paint and the metal. When sufficiently frozen, the panels 

are removed and gently flexed by hand and tapped with 

brushes to fl ake off the paint. Hand picks, small scrapers, and other small tools then are used to remove paint 

remaining in deep crevices. On any project, this process 

must be tested on one or more panels to determine efficacy. 

As with any paint removal method, once the pressed metal 

has been cleaned and the surface prepared for painting, a 

metal primer should be applied as soon as possible, even 

though the finish coatings might not be applied for some 

time. 

Once the metal panels are clean of previous layers of paint, it is 

easy to see their original decorative design. (Photo: NPS) 

11 
the patch can then be primed, the edges caulked, and the 

piece painted. 

For larger holes and dents, it may be possible to recreate the decorative appearance out of metal fi ller or 

fiberglass. Base materials should be tested beforehand 

for ease of workability and finishing. The surface 

appearance can be recreated by carving and sanding, 

which, depending upon the pattern, can be quite 

tedious. Fortunately, since ceilings are viewed from 

a distance, an exact match is not necessarily essential. 

Where the required filler is relatively thick, a mold 

technique could be used. Using a section of an existing 

undamaged piece or a rubber impression of the pattern, 

which then is stiffened on the outside, the “mold” can be 

pressed into the filler, backside up. A release agent may 

need to be applied to the mold before pressing onto the 

filler. 

Where the decorative metal pieces are still manufactured 

or can be salvaged from elsewhere in the building, 

a damaged piece can be cut out and a new piece 

installed. Since the old pieces to be replaced will usually 

overlap with adjacent pieces, close examination and 

understanding of how they were installed will help in 

devising the most suitable means of replacement. It 

may not be possible to overlap or slip in behind all of the 

outside edges adjacent to the historic tiles. Therefore, 

some trimming along the outside edges of new or 

salvaged tiles may be required before nailing in place. 

The use of caulk and paint will help compensate for the 

exposed connection. 

Where a relatively large section of the steel ceiling or 

wall is damaged or beyond repair, pieces salvaged 

from other places in the building or new ones that 

are a close match can be used. In inserting the new 

panels or pieces, it is again important to understand 

how the existing pieces overlap and were installed in 

order to determine the best way to integrate and attach 

the replacement pieces. Where replacement pieces 

that match cannot be obtained, it may be possible to 

introduce similar but non-matching new ones. 

Another option for the replacement 

of individual tiles that may be 

irreparable in a field of otherwise 

salvageable material is digital 

replication. Through the careful 

removal of the tile, a skilled artisan 

can measure the exact dimensions 

and create a digital copy. Once an 

acceptable model has been created, the 

design can be replicated on a suitable 

substrate as shown. (Photo: Lonnie 

Coulter, La Bastille) 

As an alternative to wholesale removal or borrowing 

tiles from other parts of the project, several digital 

technologies can be utilized so that full panels can 

be replaced. Through a method of image capture, a 

height field image can be manipulated through digital 

modeling that mimics the pattern of the panel. This 

technique only works when an image can be taken 

from directly below a panel in relatively good shape. 

Alternatively, a single tile can be carefully removed so 

that a skilled worker can create a digital copy. Once 

a digital model is obtained, the file can be replicated 

through rapid prototyping technology, such as 3D 

printing or CNC routing, on a suitable substrate, such as 

high-density urethane tooling board. Once installed and 

painted, the new pieces will closely match the adjacent 

historic pieces. 

Fire Protection 

In general, pressed-metal ceilings fail to meet current 

fire resistance requirements, determined in part by the 

construction and use of the building, its size, and the 

locality. The most commonly-used codes applied to 

historic buildings are published by the International 

Code Council (ICC). Its International Existing Building 

Code (IEBC) has a specific chapter applicable to 

historic buildings, with a classification system that 

defi nes different levels of renovation work and relates 

construction requirements to them. Localities that 

have not adopted the IEBC likely use the International 

Building Code (IBC) to determine code requirements. 

Where the IEBC has been adopted, the IBC and other 

codes published by the ICC may still contain provisions 

and requirements applicable to historic buildings by 

reference. Before proceeding with a project, check 

with the local code offi cial or fire marshall as to what 

is required to meet the specifics of the building and 

regulations regarding metal ceilings. 

Simple repair projects and those limited to building 

systems do not typically trigger an evaluation of 

the fire separation between floors. Neither does 

12 
 

 

 

rehabilitation work involving owner-occupied singlefamily residences. Buildings that undergo substantial 

renovations, especially where upper floors above a 

first-floor commercial area are converted to residential 

use, will likely trigger a change in the fire-separation 

requirements. 

Fire separations between different occupancies, or 

separating occupancies from an egress stair or route, are 

typically required at ceilings or walls in order to prevent 

or retard the passage of excessive heat, hot gases, or 

fl ames (fire resistance). A two-hour fire separation is 

typically required between residential and commercial 

occupancies, and a greater separation may be required 

where at least one occupancy is considered high hazard. 

Although pressed-metal ceilings installed with dead air 

space between ceilings and joists are noncombustible, 

they do not achieve the required rating. A pressedmetal ceiling installed directly on furring strips on 

wood joists is rated at 30 minutes. If the ceiling was 

installed over a plaster ceiling, a one-hour rating may be 

achieved, depending on the integrity of the plaster. 

The Historic Buildings chapter of the IEBC provides 

numerous approaches for historic pressed-metal ceilings 

to be retained, even without full or partial improvement 

of the assembly’s fire-resistance rating. The code 

explicitly provides flexibility to small museums where 

automatic fire-extinguishing systems are provided and 

where the existing wall and ceiling finish are constructed 

with wood or metal lath and plaster. A report 

documenting the investigation and evaluation of code 

requirements may be required by the code official. 

Increasing Fire Resistance 

As required or desirable, methods exist to achieve at 

least a one-hour rating with a historic pressed-metal 

ceiling. Metal panels can be removed and reinstalled 

over one or more layers of 5/8” Type X gypsum board. 

Adding noncombustible insulation in the fl oor joist 

cavity to slow down the heat transfer may also be 

accepted by the local official: the IBC rates the addition 

of noncombustible insulation, two to three times the 

thickness of a typical stud wall, as a 30-45 minutes gain. 

Intumescent paints and coatings slow down the rate 

of heat transfer and are sometimes used on existing 

pressed-metal to help achieve a higher fire rating. 

Because such paints and coatings tend to be thick when 

applied, they usually obscure the decorative pressedmetal pattern and should be used only where necessary. 

Fire Suppression 

New or existing fire-suppression systems in buildings 

most typically use water-based sprinklers. New systems 

may provide safety advantages, permit fl exibility in 

applying code requirements, and reduce insurance 

costs. New and retrofitted systems must be carefully 

considered to minimize adverse aesthetic impact. For 

example, sprinklers may be retrofitted by removing (and 

reinstalling) only limited ceiling sections, or by access 

from above, if substantial building-wide improvements 

are planned. Sidewall mount sprinklers are an excellent 

solution that can require no removal of the pressedmetal ceiling. Depending on the building and the scope 

of rehabilitation, these can be installed on multiple walls, 

although they must meet sprinkler standards (NFPA 13: 

Standard for the Installation of Sprinklers Systems). 

Pressed-Metal on Walls 

As with pressed-metal ceilings, different levels of 

interior work or change in occupancy may trigger 

additional fire separation requirements between adjacent 

uses and at egress corridors. A sprinkler system, 

installation of appropriately-rated gypsum board on 

walls (either the corridor or room side), or a combination 

of these approaches, may be acceptable. 

Replacement 

Early iron ceilings with zinc decorations are quite rare 

today and every effort should be made to preserve 

them. Where serious deterioration has occurred and 

replacement is being considered, an architectural metals 

conservator should survey and recommend the best 

way, if possible, to preserve the ceiling or, if necessary, 

how to replicate its appearance. 

Historic pressed-steel walls and ceilings are much more 

common and cannot always be saved. Decisions as to 

when to repair and when to replace are infl uenced by 

a number of factors. Besides condition and cost, other 

considerations include the significance of the building 

and the space in which the pressed metal exists; the 

ornateness and complexity of the ceiling or wall pattern; 

and the availability of replacement units that match or 

retain the historic character of the wall or ceiling. 

Common reasons for replacing pressed steel are 

widespread rusting and/or damage from high interior 

humidity or serious neglect. Where these conditions 

exist, replacement is often the appropriate option. As 

discussed in previous sections, the presence of leadbased paint or higher fire resistance requirements 

usually should not be considered suffi cient justification 

for replacement of historic pressed metal that is 

otherwise in repairable condition. This is especially true 

when the wall or ceiling is located in a historic building 

or considered a distinctive feature in its own right, 

contributing to the building’s historic character. 

When the decision is to replace the pressed metal or 

install a new metal ceiling where one previously existed, 

a number of considerations come into play, including 

how closely the historic ceiling or wall can be matched 

and how the new decorative pressed metal will be 

attached. 

Prior to removal, the pressed metal should be 

photographed, its components measured, and its overall 

continued page 16 

13 
 

Historic Finishes 

Contrary to a popular recent trend of leaving new 

pressed-metal ceilings unpainted or coated with 

clear polyurethane, historically, metal ceilings were 

intended to be painted. Since most were made of 

steel, and not tin-plated or galvanized, the paint not 

only served as a desired finish but also as a protective coating to deter oxidation and rust. Paint coatings also have the distinct advantage over modern 

clear-coat finishes in that fillers or caulk can be used 

prior to painting to fill in any gaps between parts, 

while the paint helps close small gaps as well as conceals the use of fillers or caulk. 

Many pressed-metal ceilings were manufactured 

with a prime coat of paint, on one or both sides. 

Primer was cheaper than tin-plating or galvanizing, 

and, through experience, various manufacturers 

learned that a protective coating of paint on steel 

meant fewer complaints from customers. Primer colors varied among manufacturers, but were usually 

white or grey. Even when not factory primed, manufacturers’ instructions emphasized that oil-based, 

rather than water-based, paints should be used. 

Marketers and designers embraced early on the 

decorative aspect of pressed metal, including how it 

was finished. In 1891, The Decorator and Furnisher, a 

monthly art-trades journal published in New York 

City, stated it “need hardly be mentioned that the 

metal plates after being embossed can be decorated 

in any tint of color required and wonderful effects 

have been produced by the use of lacquer tints 

which, applied to the fine modeling of the plates, 

produces most artistic and charming effects.” 

Since pressed-metal ceiling marketing stressed that 

the appearance was designed to emulate ornamental 

plaster and wood, painting helped to convey that 

intent. While some decorators and manufacturers 

promoted decorative finishes with multiple colors 

and highlights, most ceilings were painted either a 

single color or two colors, where the second color 

was used on the cornice to match the wall paint. It 

was good marketing to promote a simple paint treatment, lauding that the pressed metal was ornamental 

enough without an elaborately applied paint scheme. 

Most typically, a professional painter brush-applied 

a finish coat after the ceiling was installed. Still, 

manufacturers often provided tips on painting. 

While gloss paint was widely used early on, the introduction and popularity of pre-mixed flat paint in 

the l920s was embraced by marketers for use on ceilings. Flat paint was described as warm, non-glaring, 

and "radiating light." White gloss paint remained 

the preferred finish in rooms where sanitation was a 

concern, such as kitchens and baths. 

By the 1920s and 1930s, some manufacturers marketed 

their own lines of paint specifically for pressed metal, 

often offering a range of colors in varying shades of 

white. The 1930 trade catalog of the St. Paul Corrugating Company (MN) included these fashionable color 

samples for metal ceilings: white, light green, pink, tan, 

and sky blue. 

Some period literature suggested how to use color in 

room decoration. The Berger Company ( St. Louis) 1927 

catalog advised that for ceilings too high in proportion 

to the room, “the ceiling color should be brought down 

to the bottom of the cornice.” For low ceilings, “the 

sidewall color should be carried onto the cornice and 

blend into the ceiling color.” It cautioned to “avoid the 

bold striping of moldings, cornice or parts of members; 

also eliminate, as much as possible, gaudy colors and 

the use of gold or silver bronze as these have a tendency 

to detract from the dignified appearance of the ceiling.” 

Other manufacturers also provided useful painting 

suggestions: “A very prett y effect can be obtained by 

a careful stippling with a dry brush before the paint is 

thoroughly dry, thus giving the whole surface a slightly 

granular or plaster-like appearance and completely 

obliterating all brush marks . . . For a ceiling in a large, 

well-lighted room, where a greater degree of brightness 

is desired, a judicious touching up with gilt paint of the 

higher surfaces of embossed patterns, gives a very rich 

and pleasing effect.” 

Where the desired effect of the ceiling or wall was to 

convey an imitation-wood appearance, finishes could be 

applied to the metal in a manner that conveyed the look 

of natural or stained wood. 

Polychrome treatments 

While manufacturers tended to discourage agressive 

polychrome painting, some included color prints of 

polychrome painting in their literature. Examples of 

intact historic polychrome painting schemes have been 

found in buildings across the country, including the 

Nugget Building, a bank in Telluride, Colorado, and the 

Trumbull County Courthouse in Warren, Ohio. 

In an effort to offer a distinctive line of ceilings and 

sidewalls, the Wheeling Corrugating Company (WV) 

offered, as early as 1906, encaustic metal ceilings with a 

baked-on enamel coating to hold its color and porcelainlike finish for years. The field, cornice, moldings, and 

fillers could each be ordered in a range of colors. For 

a more striking appearance, the raised and fl at areas 

of each component could have complementary colors. 

Once installed, the result would be a richly decorated 

polychrome scheme combined with a pressed relief 

that would rival the appearance of ornate, decoratively 

painted plasterwork. 

14 
Page from a 1920s brochure published by The Edwards Manufacturing Company of Cincinnati, Ohio, promoting polychrome treatments. 

Paint investigation 

Whether repainting historic pressed metal, stripping 

the paint prior to repainting, or replacing the metal, 

a simple paint color investigation could provide 

interesting results. Areas to check include a section 

of the cornice, molding, filler, and the centerpiece, if 

present, as well as several representative areas of the 

field. If there appears to be multiple colors used at 

the same time in any of these areas or signs of gold 

or similar highlights, it may merit closer examination by a historic paint specialist. Hidden beneath 

layers of later paint on a ceiling may even be a rare 

baked-on polychrome finish just waiting to be uncovered. 

Tips on fi nishing today 

Pressed-metal steel walls and ceilings historically 

were painted and not left with their natural metallic 

surface exposed. While white was the most common 

color used for ceilings, numerous historic colors can 

be are found on historic pressed-metal walls and 

ceilings. At times, cornices were painted a color different than the ceiling, whether the same color as the 

wall or a separate color complimenting the wall and 

ceilings. Some ceilings were even more elaborately 

painted. While a considerable range of compatible 

color treatments exist today, a raw metallic appearance should be avoided. 

Black as a single or predominant color was almost 

never used. Regardless of its location, historic 

pressed-metal ceilings, with their plays of light on a 

bas relief surface, were meant to be seen. Black as a 

dominant color masks any shadows, flattening the relief, and is not appropriate for historic pressed metal 

nor for an intended replacement. 

Pattern page for color arrangement No. 4 encaustic metal ceiling 

design from the 1906 Wheeling Corrugating Company, WV. 

15 
 

When carefully removing the historic pressed metal from the original 

ceiling above, the pieces were numbered and later arranged on the 

floor in the same was they appeared on the ceiling to aide in their 

reinstallation. (Photo: NPS file, 423 N Market St., Wilmington, DE) 

pattern documented. Individual pieces should be saved 

for reference when selecting appropriate replacement 

units. 

Design considerations 

The field, molding around the field, filler, and cornice 

are important parts of the design that should be 

replicated, thus maintaining the original design. If 

the pieces are not replicated but chosen to coordinate, 

then the architectural style should be maintained when 

choosing the non-matching pieces. Simplifying the 

pattern by eliminating the wall cornice, ceiling filler, 

or encasement of ceiling beams not only changes 

the historic appearance in a manner that does not 

meet preservation standards, but also can make new 

installation less seamless. 

Where one or more components of a historic ceiling may 

not be readily available today without creating custom 

dies, alternate replacement pieces may be substituted. 

In substituting for individual pieces, it is important 

to choose from the same architectural style, such as 

Classical or Mission, and, whenever possible, match the 

width and length. Replacing 24” x 24” metal tiles with 

units measuring 24” x 48” in the field will be a noticeable 

change that usually alters the overall pattern of the 

historic ceiling. On the other hand, variation in the 

running length of individual cornice pieces rarely can be 

discernible. 

It is also important to retain the depth or repoussé of the 

pressed metal, as it can be as character-defining as the 

overall pattern. Where the historic pressed metal has 

deep relief, similar replacement units tend to be more 

costly than low-relief patterns. Also the presence of 

deep reliefs tends to limit replacement options to steel. 

Materials 

Today's reproduction pressed-metal usually is made 

out of tin-plated steel, which is less prone to rust than 

the basic sheet steel used historically. Although much 

less commonly used, components are also available 

in copper, brass, and other metals. Zinc is still used, 

especially for discrete decorative elements. When 

reproducing missing or deteriorated historic metal walls 

or ceilings, these are recommended choices of materials. 

In recent years, aluminum has been marketed as a 

less expensive and rust-proof alternative to steel. It 

is available in a wide range of patterns and a variety 

of factory finishes. However, it is generally not a 

material that lends itself to high relief and may not 

be available in some of the complex historic patterns. 

Thus, it has a more limited application when replicating 

ornate historic ceilings. Aluminum can be a suitable 

replacement for historic metal patterns of low-tomoderate relief and design complexity. This depends on 

how closely the manufactured pieces match an existing 

historic ceiling or wall. 

Plastic (PVC) and mineral fiber are contemporary 

materials used in making ceilings panels and are 

less expensive than tin-plated steel or aluminum. 

They are available in faux ceiling systems, including 

ones that attempt to simulate pressed metal. PVC is 

available in only low-reliefs and, depending on the 

manner of installation, has limited application when 

matching historic ceilings. Mineral fiber rarely matches 

the important qualities of a historic pressed-metal 

ceiling and, thus, should not be considered a suitable 

replacement. Neither is usually a good match for an 

ornate historic ceiling in a significant historic space or 

where the existing ceiling is a distinctive feature of a 

historic building. 

Installation 

There are a variety of ways to install new pressed-metal 

walls and ceilings. In applications where there is a 

required fire separation, a fire-rated dry-wall ceiling 

is first installed and over it nailing strips are placed for 

securing the pressed metal ceiling. In rooms where fire 

separation is not needed, nailing strips, can be used in 

the traditional manner. Often in small to moderatelysized spaces, a sheet of plywood nailed to the studs 

or to the underside of the ceiling structure is the most 

expedient substrate for pressed-metal panels. 

Where mechanical or plumbing systems require that a 

ceiling be lowered, grids for nailing can be fabricated to 

hang at the desired height. This is the same technique as 

used even in some original installations. 

Irregularities in the ceiling must be adjusted and 

shimmed as needed for the nailing strips or plywood to 

provide a level surface for the metal ceiling. For cornices 

and also certain ceiling panel designs or decorative 

elements, additional wood blocking may be required. 

Proper support preparation is essential. 

Most modern manufacturers provide installation 

instructions, just as their past counterparts did. Laying 

continued page 18 

16 
 

 

Case Study: 

Fort Baker 

Golden Gate National Recreation Area, 

Sausalito, CA 

Fort Baker is a 335-acre former U.S. Army post located immediately north of the Golden Gate Bridge. 

The former military post dates back to 1897and 

includes over 20 historic army buildings, mostly 

clustered around the horseshoe-shaped main parade 

ground. In 1972, Fort Baker was listed on the National Register of Historic Places. In 1995, the U.S. 

Army transferred Fort Baker to the National Park 

Service, and the property officially became part of 

the Golden Gate National Recreation Area. 

Under a lease agreement with the National Park 

Service, Cavallo Point—the Lodge at Golden Gate 

opened in 2008 as a first-class lodge and retreat, 

following the rehabilitation of most of the historic 

buildings. Thirteen buildings were rehabilitated for 

overnight accommodations and six buildings were 

adapted for new public functions, including two 

restaurants, a large conference space, a retail store, a 

cooking school, and various meeting spaces. 

Pressed-metal steel ceilings were extant in a variety of building types around the fort including the 

barracks, officers’ housing, post headquarters, and 

even in the historic jail cells of the post guardhouse. 

The ceilings were over 100 years old at the time of 

the rehabilitation, and all were covered with numerous layers of paint (mostly lead-based), obscuring 

the details of the embossed designs. Many of the 

buildings were to be rehabilitated to accommodate 

new, public uses, which required the addition of 

sound-proofing insulation to decrease the buildings’ 

ambient noise. As a result, park architects decided 

that the ceilings would be temporarily removed, at 

which time each piece individually could be cleaned 

and stripped of paint. 

The ceilings were comprised of a variety of different, 

intricate design elements, including 20 fi eld tiles, 

eight medallions, eight cornice moldings, six filler 

panels, six molding strips, two beam caps, and five 

different fi ll patterns. The patterns had a range of 

parts that offered a consistent appearance within the 

central field or main area of the ceiling with special 

transition pieces to accommodate the irregularities 

of each space. 

Medallion pieces often highlighted the placement of 

ceiling lights, and cornice pieces were used to finish 

the ceilings at the walls. When combined with the 

various fi eld tiles, filler panels, and molding strips, 

these pieces created different design schemes for 

Figure a. Removal began with documenting the pieces within 

each room, numbering and noting their precise location on a 

drawing. It was important that the pieces were marked in such 

a way that the numbers would remain legible throughout the 

cleaning and reinstallation process. 

Figure b. On pieces where paint remained after the freezing/flex 

process, workers carefully hand scraped with chisels to fi nish the 

clean-up. Because lead paint was present, workers were required 

to wear NIOSH approved-respirators. 

Figure c. Once the metal was cleaned of over 100 years of paint, 

it was easy to see the detail of the original design. 

17 
each room. The underlying construction system, 

however, was the same for each room. All panels 

were nailed to a grid of wood strips (7/8” x 2”). The 

panels overlapped each other with indentations 

(or buttons) at the corners to conceal the nail heads 

within the patterns. 

Removal began by assigning each metal component 

a number and noting its precise location on a drawing. It was important that the pieces were marked in 

such a way so that the numbers would remain legible 

throughout the cleaning and reinstallation process. 

Using a blasting system of Silver Aero-Alox 320 

sponge media with 320-grit aluminum oxide, paint at 

the perimeter and edges of all metal ceiling components was removed to expose the nail heads. 

The corners were then carefully lifted to loosen the 

nails enough to remove them from the ceiling. Since 

the cornice and medallions were installed last, it was 

easiest to remove them first. 

As the pieces were disassembled, they were placed 

into wooden boxes for protection. To clean and 

remove the multiple layers of paint, the project team 

experimented with various removal techniques before 

selecting a method involving freezing the metal 

pieces. Each box of pressed-metal pieces was placed 

into commercial freezers. When suffi ciently cold, the 

boxes were removed and each metal piece then was 

carefully flexed by hand to remove most of the paint. 

Where the paint-to-metal bond continued to hold, the 

pieces were returned to the freezer and the process 

repeated. Where additional freeze-time still was not 

suffi ciently effective, brushes and chisels were used 

to loosen and remove any remaining paint. During 

the process, all lead paint was contained and secured, 

then stored in containers for appropriate disposal 

later. 

Temporarily removing the metal ceilings to facilitate 

the addition of insulation and any needed fi re separation, as well as, updating of plumbing and electrical 

systems, allowed the paint removal to be undertaken 

in a shop, rather than working in-situ. The freeze/flex 

method proved an effective paint-removal method 

that resulted in little damage to the pattern and 

repoussé on each metal piece. 

Following the installation of the sound-proofi ng materials and drywall, the pressed-metal pieces were reinstalled using brads and a pneumatic gun. Matching 

out all of the pieces on the floor the same as they will 

appear on the ceiling, determining which direction 

overlaps should run, and establishing where to attach 

the first pieces are all essential steps that should be 

the numbered pieces to the placement diagrams made 

the reinstallation an easy process. New replacement pieces matching the historic Fort Baker design 

elements were purchased to replace any damaged 

or missing pieces. Once installed, the room ceilings 

were painted, completing the successful preservation 

and renewal of the historic pressed metal. 

Figure d. Following the installation of the sound-proofing 

materials and drywall, the pressed-metal pieces were reinstalled 

using brads and a pneumatic gun. Matching the numbered pieces 

to the placement diagrams made the reinstallation easy. 

Figure e. The ceilings were finished with a fresh coat of paint. 

(Photos a-d courtesy of Kristin Baron, NPS; Photo e: Kaaren 

Staveteig, NPS) 

undertaken prior to installation. On larger or custom 

installations or ceilings with complex designs, 

deep cornices, or encased beams, the services of an 

experienced contractor is advisable. 

18 
 

Modern suspended ceiling systems with exposed T-bars 

offer drop-in panels of various materials intended to 

evoke historic pressed-metal ceilings. These are not 

suited for historic applications because the T-bars 

create an overriding visual intrusion in the overall 

pattern. Furthermore, moldings and fillers, which 

traditionally tend to be in continuous runs, are design 

features that cannot be easily achieved in an exposedgrid system. Certain drop-in systems with snap or 

interlocking features that cover the T-bar may be 

suitable, in limited cases. Their application depends on 

the historic appearance of the ceiling being replaced 

and the visual qualities of the replacement panels; how 

well the new panels collectively appear in an overall 

pattern, including the treatment of the fi ller, molding, 

and cornice; and other factors, such as the height of the 

ceiling and the room lighting. 

Where metal ceiling battens are used with aluminum 

replacements, a combination of rivets and adhesive 

can be used. Aluminum can also be installed with 

special adhesives, such as contact cement, RTV 

silicone, and acrylics, particularly when plywood is the 

underlayment. Care must be taken to prevent bulges in 

the panels from too much adhesive, and usually nails 

help secure the panels in place while the adhesive cures. 

Modern Finishes 

Even with today's tin-plated steel, back-priming is a 

good practice, whether done at the factory or the job 

site. While routinely recommended for areas of high 

humidity and condensation, back priming of tin-plated 

steel should be routinely considered, since pipe leakage 

and other unforeseen moisture events are more likely to 

occur from the backside. Water-based primers generally 

should not be used, particularly for tin-plated steel, steel, 

galvanized steel, copper, and zinc. 

As noted when replacing a 

deteriorated or missing pressedmetal ceiling, the predominant 

use of black as a fi nish coating 

or a "natural" unpainted metal 

appearance is usually not in 

keeping with the historic character. 

One exception is copper ceilings 

which, though they will oxidize, 

will not rust. Historic pressedcopper ceilings were more costly 

and prestigious, and usually meant 

to be seen unpainted. 

Upper-floor ballroom of the Bringham 

Academy, Bringham City, UT, following 

a 2016 restoration campaign of the 

building. Standing vacant since 1980, the 

deteriorated condition of the historic pressed 

metal required custom replication and 

replacement of all panels and moldings. 

(Photo: W. F. Norman Corporation) 

The historic polychrome appearance is being recreated and enhances 

the depth and complexity of the decorative metal ceiling. (Photo: The 

Madison Courier) 

Today's powder-coat factory fi nishes offered by a 

number of manufacturers provide a durable and even 

finish coat. For ceilings, factory-applied fi nishes are 

considered desirable compared to overhead on-site 

painting, whether by spray or brush. Additional care, 

however, must be taken during installation to avoid 

scratching or otherwise scuffing. Considering that some 

fi eld cutting is usually required, such as for electrical 

hookups for lights and fans, it is inevitable that some 

touch-up painting will be necessary after installation. 

Adhesive caulk or other suitable materials should be 

used where open joints remain after installation. This is 

usually done prior to applying finish coats to the room 

side of the wall or ceiling. Prior to painting, the surface 

should be cleaned of any residue, dirt, and grime. Two 

finish coats are recommended. 

19 
 

 

 

Summary 

Pressed-metal ceilings and walls are important, 

character-defi ning interior finishes that can be found 

in almost all types of historic buildings, from stores to 

offices and churches to factories. Unlike their immediate 

predecessor, corrugated-iron ceilings, pressed-metal 

ceilings and walls of sheet steel were widely marketed, 

enjoyed a boom period of use, and now have a 

resurgence of interest. 

Distinctive in appearance, historic pressed metal turned 

out to be a reasonably durable material that, with 

appropriate care, can usually be maintained or repaired 

today, even when rehanging is required. When beyond 

repair or missing altogether, pressed metal currently is 

available in suffi cient patterns and materials that it is 

usually possible to replicate or closely approximate the 

original appearance. 

Acknowledgements 

Understanding and copying the distinctive qualities 

of individual design patterns, utilizing appropriate 

installation techniques, and creating compatible 

finishes are important components of good 

replacement work. While maintenance and repair are 

always the preferred treatment, available products 

today enable many historic patterns to be closely 

matched in cases of badly deteriorated metal walls 

and ceilings or where missing altogether. Principally 

used historically in the United States, with smaller 

markets in Canada and Australia, pressed-metal walls 

and ceilings are an important part of our architectural 

heritage. 

Kaaren R. Staveteig is an architectural historian in the Technical Preservation Services office of the National Park Service, 

Washington, DC. 

The author wishes to thank Kristin Baron, NPS; Chris Plummer; Marilyn E. Kaplan; Kim Lovejoy, Evergreene Studios; 

Frank S. Welsh; Sheldon Gruber, A. A. Abington Affiliates, Inc.; and Mark Quitno, W. F. Norman Corporation. for the 

information they provided and Gordon H. Bock; Lonnie Coulter, La Bastille; Anthony Rubano, IHPA; Kristin Baron, 

NPS; and Mark Quitno, W. F. Norman Corporation for their insightful comments in reviewing the brief. Thanks also 

go to Charles Fisher, Technical Preservation Services, and Brian Goeken, Chief, Technical Preservation Services, for their 

review and assistance. 

This publication has been prepared pursuant to the National Historic Preservation Act, as amended, which directs 

the Secretary of the Interior to develop and make available information concerning historic properties. Additional 

information offered by Technical Preservation Services is available on our website at www.nps.gov/tps. Comments 

about this publication should be made to: Technical Preservation Services, National Park Service, 1849 C Street NW, 

Washington, DC 20240. 

This publication is not copyrighted and can be reproduced without penalty. Normal procedures for credit to the 

author and the National Park Service are appreciated. Excepting for the photographs by the author, the photographs 

used in this publication may not be used to illustrate other print or electronic media without permission of the owners. 

Photographs by the author should be credited with author’s name, National Park Service. 

April 2017