A new perspective
Light changes everything
Discover sculptural lighting designed to bring warmth, character, and atmosphere to every room.
The Ondine Faceted Alabaster Drop Pendant is built from two cones set base to base — a solid metal cap above, a tapered alabaster point below — meeting at their widest line and narrowing in opposite directions. The metal half stays dark and holds the fixture; the stone half glows. Because the light has nowhere to go but down through a narrowing point, it leaves the tip as a concentrated, warm spill rather than a general wash.
The shape is not decorative. Anything that tapers to a point reads as falling — a raindrop, a plumb bob, a stalactite — and the eye follows it downward whether you intend that or not. One pendant is a full stop. Hang thirteen at staggered lengths and they stop being fixtures and become a movement: a slow spiral of stone descending through a stairwell, each point a little lower than the last, none of them level with any other.
No two pieces of stone are ever the same
Alabaster is a natural stone, so every piece carries its own veining and subtle variation in color. The fixture you receive may therefore differ slightly from the images shown.

The versions on this page go up to [__ MAX HEADS], which suits most rooms. It is not a limit. A cluster is simply more of the same cone on more of the same cord — so if your table is longer or your stairwell taller, tell us the count you want and we'll make it.
Every cord shortens on its own during installation — so how the cluster finally looks is set in your room, not in our workshop.
Cords kept short and close, the cones within a narrow band. The group reads as one vertical object rather than several separate lights.
→ Over a round table, a stair landing, or a small entry.
Cords angled outward and set to different lengths, so the cones scatter wider. The same number of shades covers far more ceiling — and more table.
→ Over a long table, an island, or an open-plan room.
Each cord a step longer than the last, so the cones fall in a continuous diagonal. Built to be read from more than one floor at once.
→ Down a stairwell or a double-height entry.
How to set it. Hang every cord at its full length first, stand back and look at the group as a whole, then shorten one cord at a time. Measure from the tabletop or the floor rather than from the ceiling — that is the distance your eye actually reads. And do not set them level: a cluster at one height looks like an accident, staggered heights look like a decision.
One honest limit: the cords come out of fixed points on the ceiling plate, so "spread" means angling them outward as far as the drop allows — not moving the mounting points around your ceiling. The longer the drop, the wider that spread can go. Cords are supplied at 150 cm / 59″; if you need more for a stairwell, tell us your ceiling height when you order.
Not a screw-in bulb. G9 is a two-pin capsule about the size of a fingernail that pushes into the socket. It's what keeps the metal cap this compact — but it isn't sold in every supermarket, so it's worth buying a few spares at the same time. Choose LED rather than halogen: the bulb sits enclosed inside the stone cone with little airflow, and LED runs far cooler.
It depends entirely on the bulbs, and the ones supplied as standard don't dim. To dim it, fit dimmable G9 bulbs in every socket — not just some, as mixing types causes flicker — and pair them with a compatible dimmer. Many G9 capsules aren't dimmable, so check the packaging rather than assuming. Ask us before ordering and we'll confirm a pairing that works.
Every cluster falls the same distance. What changes with the count is how wide the group spreads across your ceiling.
The cord is short at 19.7″ — ask for longer if you need it.

The tightest cluster — reads as one object.

The count most rooms actually want.

Where the cluster starts reading as a cascade.

Mount over the void, not over the treads.

Plan access for changing twelve bulbs before it goes up.

Point it downward and the eye follows it down.
There is a small set of shapes the eye reads as descending before the mind has named them — a raindrop, a plumb bob, a stalactite, the tip of an icicle. What they share is a narrowing that ends in a point. Nothing about them has to move; the taper alone is enough. We read the direction and our attention travels with it.
Ondine is built from that one instinct. Two cones meet at their widest line and taper in opposite directions — a solid metal cap above, a translucent alabaster point below. The metal half stays dark and does the holding. The stone half glows and does the falling. Hung alone, it is a full stop at the end of a cord.
Multiply it and the instinct compounds. A cluster of twelve at staggered lengths stops being fixtures and becomes a movement — a slow descent of stone through a stairwell, each point a little lower than the last, none of them level with any other. From the landing you see it falling away from you; from the floor you see it falling toward you. It is the same object either way, doing the same thing, and it never quite settles.
The narrowing does something practical too. A shade that closes to a point concentrates the light instead of scattering it, so what leaves the tip is a defined warm spill rather than a general wash. And because each cone is cut from quarried alabaster, every point in a falling line glows slightly differently from the one above it — the geometry repeats, the stone never does.
How low it hangs, which count to choose, and what the light actually does.
It depends which version you buy, and this catches people out.
The single pendant comes on a short 19.7″ cord — right for a bedside table, too short for a dining table. The cluster versions hang 59.1″ in total, which suits a table or a stairwell.
So if you want a single drop over a dining table, ask us for a longer cord when you order. We supply longer lengths on request — but it has to be arranged before it ships, not after.
No — and this is the opposite of what most people expect. Every cluster drops the same 59.1″, whether it has three lights or twelve.
What grows is the ceiling plate: 5.9″ across on the 3-light, 15.7″ on the 12-light. So a bigger count spreads wider, not longer.
Choose by how much ceiling you want covered, not by how far down you want it to reach. If you need more length for a tall stairwell, that's a cord question — tell us your ceiling height.
3 lights for a breakfast nook or a small round table. 5 lights for a standard dining table, an entry, or a kitchen island — this is the one most rooms want. 7 or 9 for a double-height entry or an open stairwell. 12 for a three-storey void, a lobby, or a banquet table.
The single pendant is a different thing again: buy two or three of them and set the spacing yourself, rather than accepting a fixed plate.
No. The cords arrive cut to different lengths on purpose — a cluster hung level looks like an accident, staggered heights look like a decision.
Hang them all long first, stand back and look at the group as a whole, then shorten one cord at a time. Measure from the tabletop or the floor rather than from the ceiling — that's the distance your eye actually reads.
Two things at once. The stone cone narrows to a point, so the light concentrates as it comes down and lands as a defined warm pool rather than a broad wash. At the same time the alabaster itself glows along its sides.
That combination is unusual: most fixtures either light the surface below or look pretty doing nothing useful. This does both — a glowing object above, a working pool of light beneath.
G9 bulbs — and these are worth knowing about before yours arrives. A G9 isn't a screw-in bulb; it's a small two-pin capsule about the size of a fingernail that pushes into the socket. Bulbs are included.
When you buy replacements, choose LED rather than halogen: the bulb sits enclosed inside the stone with little airflow, and LED runs far cooler. Pick warm white around 2700K — cool white makes alabaster look grey. And buy a few spares: G9 isn't sold in every supermarket.
Yes, but the bulbs supplied as standard don't dim. You'd need to fit dimmable G9 bulbs in every socket — not just some, as mixing types causes flicker — and pair them with a dimmer switch.
Many G9 capsules aren't dimmable, so check the packaging rather than assuming. Ask us before ordering and we'll confirm a bulb and dimmer combination that works.
Because they're cut from real quarried stone, not moulded from resin. Every cone has its own veining, and one or two will glow a little warmer than the ones beside them.
On a single pendant you'd never notice. On a cluster, hung side by side, it's the first thing you see — and it's what tells you the stone is real. A set that matched perfectly would have to be plastic.
A soft dry cloth on the stone, working from the highest cone down. Keep water off the shades — alabaster is porous, absorbs it, and leaves a mark that won't buff out.
No sprays, no polish, nothing abrasive. The metal cap can take a barely damp cloth followed by a dry one. Switch off and let it cool first. Once or twice a year is plenty.
Not sure how to wire it, how high to hang it, or whether you need an electrician? Our full guide walks through every step for US homes.
Switch off at the breaker and confirm before you touch any wiring.
Make sure your junction box is standard, secure, and rated for the weight.
Black to black, white to white, ground to ground — the US standard explained.
Mounting heights and clearances for sconces, pendants, and chandeliers.
Every one of these hangs from a single ceiling plate on staggered cords. What changes is the shape the stone was cut into — and what that shape does to the light.

Two bowls per drop · White + Gold
One bowl inverted over another, meeting at a brass bead. Light escapes upward and downward at once — where Ondine narrows to a point, this opens at both ends. The widest range in the series.

Discs on a rod · Gold, Black, Nickel
The rod passes straight through the stone and carries on below it — a bead on a wire rather than a shade on a cord. Barely an inch wide, so you see straight through a cluster of eleven.

Rounded shades · Black, White
Full, rounded shades rather than a taper — more glow, less directed beam. Choose it when you want the fixture to light the room around it rather than the surface beneath it.

Curved petals · [__ FINISHES]
Curved rather than conical, so the stone catches light along its edge as well as through its face. The softest silhouette of the group — closer to a flower than a fixture.
The Ondine Faceted Alabaster Drop Pendant is built from two cones set base to base — a solid metal cap above, a tapered alabaster point below — meeting at their widest line and narrowing in opposite directions. The metal half stays dark and holds the fixture; the stone half glows. Because the light has nowhere to go but down through a narrowing point, it leaves the tip as a concentrated, warm spill rather than a general wash.
The shape is not decorative. Anything that tapers to a point reads as falling — a raindrop, a plumb bob, a stalactite — and the eye follows it downward whether you intend that or not. One pendant is a full stop. Hang thirteen at staggered lengths and they stop being fixtures and become a movement: a slow spiral of stone descending through a stairwell, each point a little lower than the last, none of them level with any other.
No two pieces of stone are ever the same
Alabaster is a natural stone, so every piece carries its own veining and subtle variation in color. The fixture you receive may therefore differ slightly from the images shown.

The versions on this page go up to [__ MAX HEADS], which suits most rooms. It is not a limit. A cluster is simply more of the same cone on more of the same cord — so if your table is longer or your stairwell taller, tell us the count you want and we'll make it.
Every cord shortens on its own during installation — so how the cluster finally looks is set in your room, not in our workshop.
Cords kept short and close, the cones within a narrow band. The group reads as one vertical object rather than several separate lights.
→ Over a round table, a stair landing, or a small entry.
Cords angled outward and set to different lengths, so the cones scatter wider. The same number of shades covers far more ceiling — and more table.
→ Over a long table, an island, or an open-plan room.
Each cord a step longer than the last, so the cones fall in a continuous diagonal. Built to be read from more than one floor at once.
→ Down a stairwell or a double-height entry.
How to set it. Hang every cord at its full length first, stand back and look at the group as a whole, then shorten one cord at a time. Measure from the tabletop or the floor rather than from the ceiling — that is the distance your eye actually reads. And do not set them level: a cluster at one height looks like an accident, staggered heights look like a decision.
One honest limit: the cords come out of fixed points on the ceiling plate, so "spread" means angling them outward as far as the drop allows — not moving the mounting points around your ceiling. The longer the drop, the wider that spread can go. Cords are supplied at 150 cm / 59″; if you need more for a stairwell, tell us your ceiling height when you order.
Not a screw-in bulb. G9 is a two-pin capsule about the size of a fingernail that pushes into the socket. It's what keeps the metal cap this compact — but it isn't sold in every supermarket, so it's worth buying a few spares at the same time. Choose LED rather than halogen: the bulb sits enclosed inside the stone cone with little airflow, and LED runs far cooler.
It depends entirely on the bulbs, and the ones supplied as standard don't dim. To dim it, fit dimmable G9 bulbs in every socket — not just some, as mixing types causes flicker — and pair them with a compatible dimmer. Many G9 capsules aren't dimmable, so check the packaging rather than assuming. Ask us before ordering and we'll confirm a pairing that works.
Every cluster falls the same distance. What changes with the count is how wide the group spreads across your ceiling.
The cord is short at 19.7″ — ask for longer if you need it.

The tightest cluster — reads as one object.

The count most rooms actually want.

Where the cluster starts reading as a cascade.

Mount over the void, not over the treads.

Plan access for changing twelve bulbs before it goes up.

Point it downward and the eye follows it down.
There is a small set of shapes the eye reads as descending before the mind has named them — a raindrop, a plumb bob, a stalactite, the tip of an icicle. What they share is a narrowing that ends in a point. Nothing about them has to move; the taper alone is enough. We read the direction and our attention travels with it.
Ondine is built from that one instinct. Two cones meet at their widest line and taper in opposite directions — a solid metal cap above, a translucent alabaster point below. The metal half stays dark and does the holding. The stone half glows and does the falling. Hung alone, it is a full stop at the end of a cord.
Multiply it and the instinct compounds. A cluster of twelve at staggered lengths stops being fixtures and becomes a movement — a slow descent of stone through a stairwell, each point a little lower than the last, none of them level with any other. From the landing you see it falling away from you; from the floor you see it falling toward you. It is the same object either way, doing the same thing, and it never quite settles.
The narrowing does something practical too. A shade that closes to a point concentrates the light instead of scattering it, so what leaves the tip is a defined warm spill rather than a general wash. And because each cone is cut from quarried alabaster, every point in a falling line glows slightly differently from the one above it — the geometry repeats, the stone never does.
How low it hangs, which count to choose, and what the light actually does.
It depends which version you buy, and this catches people out.
The single pendant comes on a short 19.7″ cord — right for a bedside table, too short for a dining table. The cluster versions hang 59.1″ in total, which suits a table or a stairwell.
So if you want a single drop over a dining table, ask us for a longer cord when you order. We supply longer lengths on request — but it has to be arranged before it ships, not after.
No — and this is the opposite of what most people expect. Every cluster drops the same 59.1″, whether it has three lights or twelve.
What grows is the ceiling plate: 5.9″ across on the 3-light, 15.7″ on the 12-light. So a bigger count spreads wider, not longer.
Choose by how much ceiling you want covered, not by how far down you want it to reach. If you need more length for a tall stairwell, that's a cord question — tell us your ceiling height.
3 lights for a breakfast nook or a small round table. 5 lights for a standard dining table, an entry, or a kitchen island — this is the one most rooms want. 7 or 9 for a double-height entry or an open stairwell. 12 for a three-storey void, a lobby, or a banquet table.
The single pendant is a different thing again: buy two or three of them and set the spacing yourself, rather than accepting a fixed plate.
No. The cords arrive cut to different lengths on purpose — a cluster hung level looks like an accident, staggered heights look like a decision.
Hang them all long first, stand back and look at the group as a whole, then shorten one cord at a time. Measure from the tabletop or the floor rather than from the ceiling — that's the distance your eye actually reads.
Two things at once. The stone cone narrows to a point, so the light concentrates as it comes down and lands as a defined warm pool rather than a broad wash. At the same time the alabaster itself glows along its sides.
That combination is unusual: most fixtures either light the surface below or look pretty doing nothing useful. This does both — a glowing object above, a working pool of light beneath.
G9 bulbs — and these are worth knowing about before yours arrives. A G9 isn't a screw-in bulb; it's a small two-pin capsule about the size of a fingernail that pushes into the socket. Bulbs are included.
When you buy replacements, choose LED rather than halogen: the bulb sits enclosed inside the stone with little airflow, and LED runs far cooler. Pick warm white around 2700K — cool white makes alabaster look grey. And buy a few spares: G9 isn't sold in every supermarket.
Yes, but the bulbs supplied as standard don't dim. You'd need to fit dimmable G9 bulbs in every socket — not just some, as mixing types causes flicker — and pair them with a dimmer switch.
Many G9 capsules aren't dimmable, so check the packaging rather than assuming. Ask us before ordering and we'll confirm a bulb and dimmer combination that works.
Because they're cut from real quarried stone, not moulded from resin. Every cone has its own veining, and one or two will glow a little warmer than the ones beside them.
On a single pendant you'd never notice. On a cluster, hung side by side, it's the first thing you see — and it's what tells you the stone is real. A set that matched perfectly would have to be plastic.
A soft dry cloth on the stone, working from the highest cone down. Keep water off the shades — alabaster is porous, absorbs it, and leaves a mark that won't buff out.
No sprays, no polish, nothing abrasive. The metal cap can take a barely damp cloth followed by a dry one. Switch off and let it cool first. Once or twice a year is plenty.
Not sure how to wire it, how high to hang it, or whether you need an electrician? Our full guide walks through every step for US homes.
Switch off at the breaker and confirm before you touch any wiring.
Make sure your junction box is standard, secure, and rated for the weight.
Black to black, white to white, ground to ground — the US standard explained.
Mounting heights and clearances for sconces, pendants, and chandeliers.
Every one of these hangs from a single ceiling plate on staggered cords. What changes is the shape the stone was cut into — and what that shape does to the light.

Two bowls per drop · White + Gold
One bowl inverted over another, meeting at a brass bead. Light escapes upward and downward at once — where Ondine narrows to a point, this opens at both ends. The widest range in the series.

Discs on a rod · Gold, Black, Nickel
The rod passes straight through the stone and carries on below it — a bead on a wire rather than a shade on a cord. Barely an inch wide, so you see straight through a cluster of eleven.

Rounded shades · Black, White
Full, rounded shades rather than a taper — more glow, less directed beam. Choose it when you want the fixture to light the room around it rather than the surface beneath it.

Curved petals · [__ FINISHES]
Curved rather than conical, so the stone catches light along its edge as well as through its face. The softest silhouette of the group — closer to a flower than a fixture.

Natural stone lighting
The Vidir lighting edit
Most shades block light and let it out at the edges. Yet, this stone-textured lampshade manages to achieve exactly that.
Alabaster is translucent. Switch it on and the whole shade lights up from within, veining and all, instead of glowing only where the bulb sits. There is no bright spot to look at, because the light source is the entire surface.
The veining was decided underground, long before anyone cut it. Every shade carries its own pattern and its own faint colour shift — so the piece that arrives is not the piece in the photograph, and that is the point.
Resin and acrylic imitations go amber and brittle within a few years of sitting next to a warm bulb. Stone does not age that way. The shade you unpack is the shade you will have in twenty years.
Designed for better living
Use warm white (2700K). The stone itself has an off-white, creamy tone; cool light passing through it makes it look grayish and dingy, whereas warm light brings out that honey-like hue seen in the photos.
Alabaster is a natural stone that absorbs water and cleaning agents, which can leave permanent stains. Disconnect the power, let the bulb cool down, and then wipe the fixture with a soft, dry cloth—do not use water or spray cleaners.
The density of the stone is far greater than that of a glass shade of the same size; ensure the ceiling's load-bearing capacity is sufficient for safety.
A new perspective
Discover sculptural lighting designed to bring warmth, character, and atmosphere to every room.
Our product
Alabaster Cylindrical Chain Chandelier
Alabaster is translucent, so the light travels through the stone rather than escaping at the edges — the whole shade glows, veining and all. Every piece carries a pattern that was decided underground, which is why no two are alike.
Resin is cast in moulds, so the "veining" repeats from one shade to the next and the light passes through evenly with no depth to it. It also ages differently: sitting close to a warm bulb, resin tends to amber and grow brittle within a few years.
THE ART OF ALABASTER
The natural texture of alabaster brings a warm, mineral quality to the space. (Please contact us if you require a specific texture.)
A pure white texture reminiscent of fresh snow—warm, smooth, and refined.
Deep, inky patterns flow across a white base.
A dynamic pattern resembling a bolt of lightning streaking across the sky.
Fine, intricate cracks evoking the aesthetic beauty of a sheet of ice at the moment it shatters.
A pattern as light and airy as falling snowflakes, with every single flake unique.
Material · Method · Light
Every texture tells a story of natural light and patient craftsmanship.





Crafted from select natural alabaster, preserving its unique veining.
Meticulously cut and shaped by artisans.
Repeatedly ground and polished for a smooth, refined texture.
Carefully assembled and quality-inspected.
Custom Stone Lighting

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