Maren Tiered Alabaster Tile Chandelier

The Maren Tiered Alabaster Tile Chandelier is built from narrow stone tiles with rounded ends, each pinned individually to a brass frame and hung in stepped tiers that draw inward as they descend. They overlap the way roof shingles do — every row lapping the one below, so the surface is layered rather than flat. Lit, each tile glows on its own and the rows read as bands of light stacked one under another, with the veining of the stone showing through differently in every piece. Almost every tiered chandelier is round, which is fine over a round table and awkward over a long one. This one is rectangular — the frame is a rectangle, the tiers are rectangles, and the light lands as a long pool rather than a circle. That single decision is why it belongs above a rectangular dining table, a kitchen island, or a long console where a round fixture would leave the ends dark. Suspended on four brass chains from a square canopy, in warm brass against natural alabaster. Natural Alabaster Naturally Unique Veining 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. An inherent characteristic of real stone — not a quality defect. What You See Is What You Get Real Photo Every tile laid out — and no two the same stone Real Photo The brass frame underneath — what every tile pins onto Described Honestly Materials, sizes and finishes listed exactly as they are — including that the base is open, and that every stone tile is a slightly different colour. Genuine Materials Real quarried alabaster, cut and polished — never resin, never printed stone effect. Photographed as it leaves our workshop, not rendered. Safely Packed Every tile is checked, individually wrapped in protective foam, and boxed separately from the frame — stone travels better in pieces than assembled. Specifications The Details Material Genuine natural alabaster tiles · brass frame & pins · metal chains Stone cut and polished; metal electroplated and finished. Finish Gold Alabaster: natural white. Light source E12 or E14 bulbsE12 in North America, E14 in Europe and most of Asia. Power Max 40W Voltage AC 110–240V Control Wall switch — dimmable only with dimmable bulbs, see note below Suspension Four metal chains from a square canopy - We provide 150cm / 59″ wires. Can be extended upon request. Mounting Ceiling — hardwired Environment Indoor only Preparation time 5–10 days Made and inspected at our own workshop before dispatch. Good to Know Dimming function To enable dimming functionality—a common requirement for dining table lighting—replace all bulbs with dimmable E12 or E14 bulbs and use them with a compatible dimmer switch. Pinned on, so one tile can be replaced Each stone is held by its own brass pin rather than set into a sealed frame. That is what allows the rows to overlap this closely — and it means a single damaged tile is unpinned and swapped on its own, instead of a fixture this size going back with freight both ways. If anything arrives damaged, send us photos within 24 hours and we will replace the affected tiles. Size Guide Two Sizes, and the Bigger One Is Deeper Too Going up doesn't just widen the fixture — it adds a tier. Match the width to your table, then check you have the height for it. Small[__ TIERS] tiers 20″ wide × 18.2″ high 50.8 × 46.3 cm · plus chain Best forTable or island 36–48″ · breakfast nook · entry hall · over a console Ceiling8–10 ft NoteThe flatter of the two — 18.2″ deep, so it sits comfortably on a standard ceiling without dominating the room. The safer choice if you're unsure. It's easier to under-scale a chandelier than to over-scale one. Large[__ TIERS] tiers 26″ wide × 25.6″ high 66 × 65 cm · plus chain Best forDining table 54–72″ · kitchen island · open-plan living room Ceiling9–12 ft NoteNearly as deep as it is wide — 26 × 25.6″. Going up a size adds height as much as width, so check the ceiling before you choose it. The one most dining rooms want, if the height is there. The design Borrowed From a Roof The oldest way to lay a surface, turned upward and lit from within. Long before anyone thought of it as a pattern, overlapping was simply how you kept the rain out. Slate, tile, shingle, thatch — every roofing tradition in the world arrived independently at the same solution: lay the pieces in rows, and let each row lap the one below. It is a structural answer, not a decorative one. That it happens to be beautiful is an accident we have been living with for a few thousand years. Maren takes that logic, tilts it toward the ceiling, and puts a light behind it. Narrow alabaster tiles, each with a rounded end, pinned individually to a brass frame and hung in stepped rows that draw inward as they fall. Nothing is set into a panel. Every stone is its own piece, held by its own pin — which is the only way the rows can overlap this tightly and still be built by hand. What overlapping does to light is different from what it does to rain. A roof is designed to stop everything passing through it; this is designed to let light out three ways at once — through the stone, around the edges of each tile, and between the rows where they step. So the fixture reads as bands of light stacked one beneath another, brightest along the lapped edges, softer through the body of each tile. A single sealed shade cannot do that. It has no edges to escape from. And the stone keeps the pattern honest. Each tile is cut from quarried alabaster, so the veining runs differently through every one and some glow visibly warmer than their neighbours. Rows and rows of the same shape, and not one of them the same piece. It is a grid made entirely of exceptions — which is exactly what a slate roof is, and why nobody has ever tired of looking at one. — Laid in rows, lit from behind — Questions, Answered Common Questions Which size to choose, what the light does, and why no two stone tiles match. Will I see the bulbs from underneath? Yes, if you look straight up into it. The lowest tier draws inward but doesn't close, so the base is open rather than shut. Worth planning for rather than discovering. Two things fix it. Hang it a little higher than you would a closed-bottom fixture — over a table, toward the 36″ end of the range rather than 30″. And fit frosted or opal bulbs instead of clear ones. A clear filament visible through an open base is the one thing that would spoil this; a frosted bulb reads as another soft glow among the stone. Which size should I choose? 20″ wide for a table or island of 36–48″, a breakfast nook, or an entry. 26″ wide for a dining table of 54–72″, a kitchen island, or an open-plan room. But check the height too, because the bigger one is deeper as well as wider. The 20″ is 18.2″ tall; the 26″ is 25.6″ — nearly as deep as it is wide. Going up a size costs you 7½ inches of headroom, and that's the part people forget until the electrician is on the ladder. How low should I hang it? Over a dining table, the lowest tile should sit 30–36″ above the tabletop — and on this fixture, aim toward the higher end because the base is open. Anywhere people walk beneath it, keep 7 ft of clearance above the floor. The chains shorten on site, so the height is set on installation day rather than at the factory. Why don't the stone tiles match each other? Because they're cut from real quarried stone, not moulded from resin. Every tile has its own veining, and some glow noticeably warmer than the ones beside them. On a fixture with this many overlapping pieces, that's the first thing you notice — and it's what tells you the stone is real. A set that matched perfectly would have to be plastic. What kind of light does it actually give? Warm and layered rather than one even glow. Because the tiles overlap like roof shingles, light comes out three ways at once — through the stone, around the edge of each tile, and between the rows where they step. So you see bands of light stacked one beneath another, brightest along the lapped edges and softer through the body of each tile. A single sealed shade can't do that; it has no edges for light to escape from. Do the bulbs come with it, and can I dim it? To dim it — and over a dining table most people eventually do — swap them for dimmable E12 or E14 bulbs in every socket, not just some, and pair them with a dimmer switch. Add up the total wattage of all the bulbs and check your dimmer is rated for it. Which bulbs does it take? Small screw-in candle bulbs — E12 in the US and Canada, E14 in Europe and most of Asia, up to 40W each. For replacements choose warm white, around 2700K, and frosted rather than clear. Cool white light makes alabaster look grey and drains the warmth out of the brass. Will my ceiling hold it? Check before ordering. A fixture built from this many stone tiles is genuinely heavy, and all of it hangs from one canopy. Your electrician should confirm the ceiling box is rated for the weight and fixed into the structure above rather than plasterboard alone — a standard box carries far less than most people assume. Ask us for the exact weight of your size and pass it on. What if a tile breaks? That tile is replaced on its own. Each one is held by its own brass pin rather than set into a sealed frame — which is also what lets the rows overlap this closely. A single damaged piece never means returning the whole fixture, with freight both ways and weeks of a bare ceiling. If anything arrives damaged, send us photos within 24 hours of delivery and we'll replace the affected tiles. How do I clean it? A soft dry cloth on the stone, working from the top row down so dust falls away from what you've already done. Keep water off the tiles — alabaster is porous, absorbs it, and leaves a mark that won't buff out. No sprays, no polish, nothing abrasive. The brass frame 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. Can I put it in a bathroom or over a kitchen island? Kitchen island: yes, with one caveat — overlapping tiles collect cooking grease in the laps, and grease doesn't come out with dusting. If your island is next to the hob rather than across the room from it, think twice. Bathroom: no. This is an indoor dry-room fixture with no protection against water or steam, and alabaster is porous, so damp is bad for the stone as well as the wiring. Installation The Complete Installation Guide 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. joist above junction box canopy covers the box tabletop 30–36″ above a tabletop 7 ft where people walk The chain sets the drop, the canopy hides the box, and two measurements decide the height — one for over a table, one for anywhere you walk. 01 Power Off First Switch off at the breaker and confirm before you touch any wiring. 02 Check the Box Make sure your junction box is standard, secure, and rated for the weight. 03 Match the Wires Black to black, white to white, ground to ground — the US standard explained. 04 Set the Height Mounting heights and clearances for sconces, pendants, and chandeliers. Sloped or vaulted ceiling? Tell us before you order. A standard canopy sits flat, so on a pitched ceiling the fixture hangs at an angle rather than straight down. It's an easy thing to solve and an expensive one to discover on installation day. Send us the angle of your ceiling and we'll supply the right canopy or adapter with your order — support@vidirlighting.com. Read the Full Installation Guide Free guide · Written for US homes · Opens in a new tab