This parlor medallion and pendant drops shown in a mid-19th century house in Annapolis, Maryland, were originally ordered from a catalog. Photo: M.E. Warren.

Among the most dramatic of ornamental plaster forms is the parlor ceiling medallion. Vernacular houses often used plain-run concentric circles from which lighting fixtures descended, usually hung from a wrought iron hook embedded in the central ceiling joist. More elaborate medallions were composed of shop-cast pieces, such as acanthus foliage often alternating with anthemia or other decorative designs. Medallions usually related stylistically to the cornice ornament found in the room and could be created with or without a plain-run surround. Of particular importance to the art of ornamental plaster was the mid-19th century double parlor plan. Architects often specified matching medallions of robust proportions and ornamentation. Later, in 20th century American Colonial Revival architecture, architects called for Federal style ceiling medallions. Some of the more successful were graceful one-piece units, utilizing classical motifs such as garlands and swags, and in their simplicity, reminiscent of Adamesque designs of the 1760s.

Yet another significant decorative form is the coffered ceiling. Coffering units were cast in the shop or onsite, then installed with hanging wires to form the ceiling. Ceiling design varied from period to period as to depth, panel shape, and ornamental complexity. Not always flat, coffering is seen inside domes, within barrel vaults and groin ceilings, along overhead ribs and soffits. Rosettes are usually centered in the panels and often enrich the intersections of elaborate stiles bordering the panels. Flat ceiling coffers are generally identical in reflected plan; on domed or barrel ceilings, coffers differ from course to course so as to appear identical from various sight lines. The finish treatment of a coffered ceiling frequently exhibits the height of the painter's craft.

The elaborate coffered ceiling was designed for the Willard Hotel in Washington, D.C. (1902-04) by Henry Janeway Hardenbergh. It was restored as part of a rehabilitation project in the 1980s. Photo: Carol M. Highsmith.

Unfortunately, these supposedly enduring decorative forms created by ornamental plaster tradesmen are subjected to the ravages of both nature and man and, consequently, seldom remain as originally designed. Minor changes of taste are perhaps the least injurious to plasterwork. Considerably greater damage and deterioration are caused by radical changes in building use and poor maintenance practices. Fortunately, in most cases, the form, detailing, and finish of historic ornamental plaster can be recaptured through careful repair and restoration.