A new perspective
Light changes everything
Discover sculptural lighting designed to bring warmth, character, and atmosphere to every room.
The Elin Capped Alabaster Drum Pendant Light is a short, softly rounded drum of natural alabaster with a brass dome fitted over the top of it — not a rim or a collar, but a solid cap that covers the upper half completely. Hung on a slim black cord from a brass canopy, in configurations from a single pendant to a six-light cluster.
That cap is doing a job most pendants leave undone. A shade open at the top throws as much light onto your ceiling as into your room, which is why so many pendants leave a bright disc overhead that nobody asked for. Here the metal closes it off, so light leaves only downward and sideways through the stone — a defined pool on the surface below, and a warm glow around the drum itself. Nothing is wasted upward, and there is no bulb visible from any angle you would normally stand in.
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 6 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.
It depends entirely on the bulbs. 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 switch.
Cords arrive at 59″ per drop and each one adjusts independently, so you set the height of every pendant in the room rather than accepting one from the factory.
About the size of a coffee mug — delicate rather than a statement.

The version most rooms want.

Six and a half feet of fixture. Measure the void, not the table.

It goes to the ceiling. Nobody asked it to.
Stand under an ordinary pendant at night and look up. There is almost always a bright disc on the ceiling above it — a pool of light thrown upward onto a surface nobody is looking at, doing nothing except washing out the very shadow the lamp was bought to create. It happens because most shades are simply open at the top. The light has to go somewhere, and half of it goes up.
Elin closes it. A solid metal dome is fitted over the upper half of the drum — not a rim, not a collar, but a cap. Nothing escapes above it. What the fixture makes, it keeps: a defined pool on the surface below, and a soft glow through the stone at the sides. The ceiling stays dark, which is exactly where a ceiling should be.
Everything else follows from that decision. The drum could stay short and thick because it no longer had to be tall enough to hide a bulb from above — and a thick wall of alabaster is what lets the glow build inside the stone before it leaves, so the veining reads from within rather than being lit from outside. At 5.9 inches across it is deliberately small, closer to a held object than to a fixture.
Which is why it comes in groups. Three or six drums on a single plate, cords cut to different lengths, spiralling down rather than lining up — so what you see is a slow descent of small warm stones. Every drum is cut from quarried alabaster, so the veining differs from one to the next while the shape stays exactly the same. A repeated form made of unrepeatable pieces.
Why the top is closed, how small the shade really is, and which cluster suits your ceiling.
So none of the light is wasted on your ceiling. Most pendants are open at the top, which throws a bright disc onto the ceiling above them — light nobody is looking at, washing out the very shadow you bought the lamp to create.
Here a solid metal dome caps the upper half of the drum. Nothing escapes above it, so what you get is a defined pool of light on the surface below and a soft glow through the stone at the sides. The ceiling stays dark.
Small — 5.9″ across and 7.1″ tall. About the size of a coffee mug. Worth picturing properly before you order.
One on its own reads as delicate rather than commanding, which is right beside a bed or over a counter and wrong over a dining table. If you want presence, take a cluster, or buy two or three singles and set the spacing yourself. A group of small shades reads as considered; one small shade reads as under-scaled.
This is a ceiling-height question, not a table-size one — and it works backwards to most clusters.
Both hang from the same 23.6″ plate, so six lights take up no more ceiling than three. What changes is the drop: 59.1″ against 78.7″.
So: three lights for a dining table, island or entry on a 9–12 ft ceiling. Six lights only where you have 13 ft or more — a stairwell, a double-height entry, a vaulted room. At 78.7″ the six-light is six and a half feet of fixture; on a normal ceiling it simply hangs too low.
Yes — every cord shortens independently. They arrive at 59″ each and are cut or adjusted on site, so you decide the height of every drop in the room rather than accepting one from us.
On a cluster, hang them all long first, stand back, then shorten one at a time. Do not set them level — the drops are meant to spiral downward, and staggered heights are what make a group read as arranged rather than accidental.
G9 bulbs — a small two-pin capsule about the size of a fingernail, not a screw-in bulb. It pushes into the socket, and it is what keeps this shade so compact. Bulbs are not included.
Buy a few spares at the same time: G9 isn't sold in every supermarket, and on a cluster you want every drop matching rather than one odd one out. Choose warm white around 2700K — cool white through alabaster looks grey.
We strongly recommend it, and the reason is specific to this shade. Stone doesn't burn — this isn't a fire warning. It's about heat.
The metal cap that stops light escaping upward also means very little airflow above the bulb. Heat that would rise away from an open pendant stays inside this one. A filament bulb warms the stone every evening and lets it cool every night, and that repeated expansion and contraction is where hairline cracks begin in any natural stone. An LED barely warms it at all.
Because they're cut from real quarried stone, not moulded from resin. Every drum has its own veining, and some 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. Keep water off it — alabaster is porous, absorbs it, and leaves a mark that won't buff out.
The metal cap can take a barely damp cloth followed by a dry one. Switch off and let the bulbs 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.
A pendant lights what is under it. These two reach the parts of a room it cannot — the corner with no table, and the wall with no floor to spare.


Floor standing · Plug in
For the corner a pendant will never reach — no ceiling box, no wiring, no holes. A standing column of the same stone, so the glow matches overhead while filling the darkest part of the room.

Wall mounted · Indoor dry rooms
Eye level, taking no floor at all. An upright stone shade that reads as a candle rather than a fixture — beside a bed, along a hallway, or in pairs framing a doorway the pendant lights the middle of.
The Elin Capped Alabaster Drum Pendant Light is a short, softly rounded drum of natural alabaster with a brass dome fitted over the top of it — not a rim or a collar, but a solid cap that covers the upper half completely. Hung on a slim black cord from a brass canopy, in configurations from a single pendant to a six-light cluster.
That cap is doing a job most pendants leave undone. A shade open at the top throws as much light onto your ceiling as into your room, which is why so many pendants leave a bright disc overhead that nobody asked for. Here the metal closes it off, so light leaves only downward and sideways through the stone — a defined pool on the surface below, and a warm glow around the drum itself. Nothing is wasted upward, and there is no bulb visible from any angle you would normally stand in.
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 6 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.
It depends entirely on the bulbs. 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 switch.
Cords arrive at 59″ per drop and each one adjusts independently, so you set the height of every pendant in the room rather than accepting one from the factory.
About the size of a coffee mug — delicate rather than a statement.

The version most rooms want.

Six and a half feet of fixture. Measure the void, not the table.

It goes to the ceiling. Nobody asked it to.
Stand under an ordinary pendant at night and look up. There is almost always a bright disc on the ceiling above it — a pool of light thrown upward onto a surface nobody is looking at, doing nothing except washing out the very shadow the lamp was bought to create. It happens because most shades are simply open at the top. The light has to go somewhere, and half of it goes up.
Elin closes it. A solid metal dome is fitted over the upper half of the drum — not a rim, not a collar, but a cap. Nothing escapes above it. What the fixture makes, it keeps: a defined pool on the surface below, and a soft glow through the stone at the sides. The ceiling stays dark, which is exactly where a ceiling should be.
Everything else follows from that decision. The drum could stay short and thick because it no longer had to be tall enough to hide a bulb from above — and a thick wall of alabaster is what lets the glow build inside the stone before it leaves, so the veining reads from within rather than being lit from outside. At 5.9 inches across it is deliberately small, closer to a held object than to a fixture.
Which is why it comes in groups. Three or six drums on a single plate, cords cut to different lengths, spiralling down rather than lining up — so what you see is a slow descent of small warm stones. Every drum is cut from quarried alabaster, so the veining differs from one to the next while the shape stays exactly the same. A repeated form made of unrepeatable pieces.
Why the top is closed, how small the shade really is, and which cluster suits your ceiling.
So none of the light is wasted on your ceiling. Most pendants are open at the top, which throws a bright disc onto the ceiling above them — light nobody is looking at, washing out the very shadow you bought the lamp to create.
Here a solid metal dome caps the upper half of the drum. Nothing escapes above it, so what you get is a defined pool of light on the surface below and a soft glow through the stone at the sides. The ceiling stays dark.
Small — 5.9″ across and 7.1″ tall. About the size of a coffee mug. Worth picturing properly before you order.
One on its own reads as delicate rather than commanding, which is right beside a bed or over a counter and wrong over a dining table. If you want presence, take a cluster, or buy two or three singles and set the spacing yourself. A group of small shades reads as considered; one small shade reads as under-scaled.
This is a ceiling-height question, not a table-size one — and it works backwards to most clusters.
Both hang from the same 23.6″ plate, so six lights take up no more ceiling than three. What changes is the drop: 59.1″ against 78.7″.
So: three lights for a dining table, island or entry on a 9–12 ft ceiling. Six lights only where you have 13 ft or more — a stairwell, a double-height entry, a vaulted room. At 78.7″ the six-light is six and a half feet of fixture; on a normal ceiling it simply hangs too low.
Yes — every cord shortens independently. They arrive at 59″ each and are cut or adjusted on site, so you decide the height of every drop in the room rather than accepting one from us.
On a cluster, hang them all long first, stand back, then shorten one at a time. Do not set them level — the drops are meant to spiral downward, and staggered heights are what make a group read as arranged rather than accidental.
G9 bulbs — a small two-pin capsule about the size of a fingernail, not a screw-in bulb. It pushes into the socket, and it is what keeps this shade so compact. Bulbs are not included.
Buy a few spares at the same time: G9 isn't sold in every supermarket, and on a cluster you want every drop matching rather than one odd one out. Choose warm white around 2700K — cool white through alabaster looks grey.
We strongly recommend it, and the reason is specific to this shade. Stone doesn't burn — this isn't a fire warning. It's about heat.
The metal cap that stops light escaping upward also means very little airflow above the bulb. Heat that would rise away from an open pendant stays inside this one. A filament bulb warms the stone every evening and lets it cool every night, and that repeated expansion and contraction is where hairline cracks begin in any natural stone. An LED barely warms it at all.
Because they're cut from real quarried stone, not moulded from resin. Every drum has its own veining, and some 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. Keep water off it — alabaster is porous, absorbs it, and leaves a mark that won't buff out.
The metal cap can take a barely damp cloth followed by a dry one. Switch off and let the bulbs 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.
A pendant lights what is under it. These two reach the parts of a room it cannot — the corner with no table, and the wall with no floor to spare.


Floor standing · Plug in
For the corner a pendant will never reach — no ceiling box, no wiring, no holes. A standing column of the same stone, so the glow matches overhead while filling the darkest part of the room.

Wall mounted · Indoor dry rooms
Eye level, taking no floor at all. An upright stone shade that reads as a candle rather than a fixture — beside a bed, along a hallway, or in pairs framing a doorway the pendant lights the middle of.

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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