A new perspective
Light changes everything
Discover sculptural lighting designed to bring warmth, character, and atmosphere to every room.
The Sylvi Linear Alabaster Trough Chandelier is a long, shallow channel of natural alabaster — flat-bottomed, with the sides rising and the ends turning up into soft curves — held from the ceiling by two slim rods rather than a central stem. Two metal bands cross the trough at even intervals, dividing it into three visible sections and making the length readable rather than uniform.
Most linear chandeliers hang from one bar and hide it behind the shade. Here the suspension is the design: two rods dropping to separate ceiling points, with nothing between them. Below, the entire trough glows along its whole length rather than sending light down from a source — so what lands on the table beneath is a continuous band of warmth instead of a row of bright spots. Sitting under it, there is nothing to look into from any angle. Built for surfaces that are longer than they are wide — a rectangular dining table, a kitchen island, a boardroom table, a long console — where a round fixture always leaves the ends dark.
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 LED is built into the fixture, so there is no bulb to buy or replace — and no bulb to swap for a dimmable one afterwards. (Please contact us if you require a dimmable version.)

Lower than instinct suggests. Nobody walks under a table.
Continuous light along a worktop, not pools with gaps.
Check the 23.6″ drop against a low ceiling first.
A long surface, or nothing.
The bar every linear light hides — this one simply doesn't have.
Look closely at almost any long dining light and you will find the same thing: a metal bar running its full length, carrying the wiring and the weight, with a shade hung underneath to hide it. The shade is doing two jobs at once — softening the light, and concealing the structure that holds it up. It has to be deep enough to swallow the bar, which is why so many linear fixtures are bulkier than the light they give.
Two slim rods drop from two separate points on the ceiling, and between them there is only air. Each rod carries its share of the load and its share of the wiring, and because nothing has to be concealed, the stone could be made shallow — a trough rather than a box, flat along the bottom with the sides just rising and the ends turning up.
Shallow is what makes the light behave. A deep shade collects light and lets it out at one opening; a shallow trough spreads it along the whole length of the stone. So what arrives on the table is not two or three bright pools with dim gaps between them, but one continuous band of warmth — the reason a long table under a linear light either works completely or does not work at all.
The two metal bands are the last decision, and the least obvious. Without them the trough would read as one blank strip of glowing stone, and the eye would slide off it. Crossing it at even intervals divides the length into three, giving the proportion something to be measured against — the same reason a long table looks better with three place settings than with an unbroken run of cloth. In brass the bands melt into the warmth and the piece reads as one object; in black they become hard graphic lines against pale stone.
How it mounts, which table it suits, and what the light actually does.
Not directly — and this is the most important thing to know before ordering.
It hangs from two slim rods fixed at two separate points on your ceiling, not one canopy. That means two holes, two fixings, and wiring run between them.
The fixture is 39.4″ long, and the rule for a linear light is half to two-thirds of the table's length.
So it suits a table of roughly 60–79″. Under 55″ it will overhang both ends and start to look like a beam across the room. Over 90″ it will light the middle and leave the ends dim — for a table that long, two fixtures end to end is the usual answer, and we're happy to advise on the gap between them.
One thing it is not for: a round table. A linear light over a circle leaves two arcs unlit and two ends of the stone doing nothing.
The whole length. The stone glows continuously rather than sending light down from a few visible sources.
That is the difference between this and a row of pendants. What lands on the table is one continuous band of warmth instead of two or three bright pools with dim gaps between them — which matters most at the ends of a long table, where a row of pendants usually runs out of light.
Yes, but it has to be specified when you order. (Please contact us if you require a dimmable version.)
To break the length up. Without them the trough would read as one blank strip of glowing stone and the eye would slide straight off it. Crossing it at even intervals divides the length into three, so the proportion has something to be measured against.
They also change the character of the piece. In brass the bands blend into the warm stone and it reads as one object; in black they become sharp graphic lines against pale alabaster.
Because it is quarried, not moulded. The veining running the length of your trough will be its own — and lit from inside, on a piece this long, it is the first thing anyone notices.
Sections may also differ slightly in tone from one another. That is real stone doing what real stone does; a piece that matched the photograph exactly would have to be resin.
A soft dry cloth along the stone. Keep water off it — alabaster is porous, absorbs it, and leaves a mark that won't buff out. The trough is open at the top, so dust settles inside it; a dry brush reaches in more easily than a cloth.
The metal bands and rods 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.
A linear fixture lights one surface very well and nothing else. These two take the wall beside it and the corner behind it.


Wall mounted · Indoor dry rooms
A round stone orb where the trough is a long line — the same material saying the opposite thing. Along the wall beside a dining table, or in pairs framing a doorway, it lifts the light off one surface and into the room.

Floor standing · Plug in
For the corner nothing on the ceiling will ever reach. No electrician, no holes, no permission — it plugs into a socket and moves whenever the room does. Soft folded paper against the flat stone overhead.
The Sylvi Linear Alabaster Trough Chandelier is a long, shallow channel of natural alabaster — flat-bottomed, with the sides rising and the ends turning up into soft curves — held from the ceiling by two slim rods rather than a central stem. Two metal bands cross the trough at even intervals, dividing it into three visible sections and making the length readable rather than uniform.
Most linear chandeliers hang from one bar and hide it behind the shade. Here the suspension is the design: two rods dropping to separate ceiling points, with nothing between them. Below, the entire trough glows along its whole length rather than sending light down from a source — so what lands on the table beneath is a continuous band of warmth instead of a row of bright spots. Sitting under it, there is nothing to look into from any angle. Built for surfaces that are longer than they are wide — a rectangular dining table, a kitchen island, a boardroom table, a long console — where a round fixture always leaves the ends dark.
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 LED is built into the fixture, so there is no bulb to buy or replace — and no bulb to swap for a dimmable one afterwards. (Please contact us if you require a dimmable version.)

Lower than instinct suggests. Nobody walks under a table.
Continuous light along a worktop, not pools with gaps.
Check the 23.6″ drop against a low ceiling first.
A long surface, or nothing.
The bar every linear light hides — this one simply doesn't have.
Look closely at almost any long dining light and you will find the same thing: a metal bar running its full length, carrying the wiring and the weight, with a shade hung underneath to hide it. The shade is doing two jobs at once — softening the light, and concealing the structure that holds it up. It has to be deep enough to swallow the bar, which is why so many linear fixtures are bulkier than the light they give.
Two slim rods drop from two separate points on the ceiling, and between them there is only air. Each rod carries its share of the load and its share of the wiring, and because nothing has to be concealed, the stone could be made shallow — a trough rather than a box, flat along the bottom with the sides just rising and the ends turning up.
Shallow is what makes the light behave. A deep shade collects light and lets it out at one opening; a shallow trough spreads it along the whole length of the stone. So what arrives on the table is not two or three bright pools with dim gaps between them, but one continuous band of warmth — the reason a long table under a linear light either works completely or does not work at all.
The two metal bands are the last decision, and the least obvious. Without them the trough would read as one blank strip of glowing stone, and the eye would slide off it. Crossing it at even intervals divides the length into three, giving the proportion something to be measured against — the same reason a long table looks better with three place settings than with an unbroken run of cloth. In brass the bands melt into the warmth and the piece reads as one object; in black they become hard graphic lines against pale stone.
How it mounts, which table it suits, and what the light actually does.
Not directly — and this is the most important thing to know before ordering.
It hangs from two slim rods fixed at two separate points on your ceiling, not one canopy. That means two holes, two fixings, and wiring run between them.
The fixture is 39.4″ long, and the rule for a linear light is half to two-thirds of the table's length.
So it suits a table of roughly 60–79″. Under 55″ it will overhang both ends and start to look like a beam across the room. Over 90″ it will light the middle and leave the ends dim — for a table that long, two fixtures end to end is the usual answer, and we're happy to advise on the gap between them.
One thing it is not for: a round table. A linear light over a circle leaves two arcs unlit and two ends of the stone doing nothing.
The whole length. The stone glows continuously rather than sending light down from a few visible sources.
That is the difference between this and a row of pendants. What lands on the table is one continuous band of warmth instead of two or three bright pools with dim gaps between them — which matters most at the ends of a long table, where a row of pendants usually runs out of light.
Yes, but it has to be specified when you order. (Please contact us if you require a dimmable version.)
To break the length up. Without them the trough would read as one blank strip of glowing stone and the eye would slide straight off it. Crossing it at even intervals divides the length into three, so the proportion has something to be measured against.
They also change the character of the piece. In brass the bands blend into the warm stone and it reads as one object; in black they become sharp graphic lines against pale alabaster.
Because it is quarried, not moulded. The veining running the length of your trough will be its own — and lit from inside, on a piece this long, it is the first thing anyone notices.
Sections may also differ slightly in tone from one another. That is real stone doing what real stone does; a piece that matched the photograph exactly would have to be resin.
A soft dry cloth along the stone. Keep water off it — alabaster is porous, absorbs it, and leaves a mark that won't buff out. The trough is open at the top, so dust settles inside it; a dry brush reaches in more easily than a cloth.
The metal bands and rods 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.
A linear fixture lights one surface very well and nothing else. These two take the wall beside it and the corner behind it.


Wall mounted · Indoor dry rooms
A round stone orb where the trough is a long line — the same material saying the opposite thing. Along the wall beside a dining table, or in pairs framing a doorway, it lifts the light off one surface and into the room.

Floor standing · Plug in
For the corner nothing on the ceiling will ever reach. No electrician, no holes, no permission — it plugs into a socket and moves whenever the room does. Soft folded paper against the flat stone overhead.

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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