A History of the Chandelier

Introduction
Perhaps no other decorative object has proved so popular and enduring through the centuries and
across diverse countries than the chandelier (see the glossary at the end of this article for a definition).
Its history spans more than eight hundred years and as time progressed designs became ever more
elaborate, reflecting the growing wealth and power of the highest echelons of society, as well as
progress in terms of technological development and workmanship. Since its inception, the chandelier
has been closely associated with royalty and the aristocracy which perpetuated its status as a symbol of
wealth, luxury and grandeur. Mapping the evolution of the chandelier therefore involves tracing the
history of the monarchs, principally between the fifteenth and nineteenth centuries, the time which saw
the emergence of the most recognisable and timeless designs.

This article will focus on the three most prominent European chandelier styles to emerge, which include
the French Rock Crystal, English glass and Venetian chandeliers. Whilst each of these had separate
origins and followed distinct trajectories, it is important to note that fluidity across both time and space
is a defining feature of the chandeliers stylistic and technological evolution (Mccaffety, 2006). The high
costs involved in manufacturing combined with the discerning tastes of its patrons, meant that the
chandelier reflected rapidly changes in fashion and technology. In spite of some protectionist efforts,
decorative styles circulated widely amongst designers, manufacturers and the ruling elite. Whilst such
fluidity can make it challenging to track trends and attribute chandeliers, on the flip side it has
contributed to creating a climate of innovation and a plethora of diversity and choice for consumers.

Flemish Chandeliers
The first notable chandelier style to emerge and which was to have a lasting impact was the Dutch brass
chandelier. Prior to this, chandeliers had been made of wood or iron, such as the Moorish iron farol
from the eight century or the simple yet elegant iron corona which was widespread during the Middle
Ages. These were all but superseded by the arrival of the Dutch-style chandelier by the fifteenth
century. The defining feature of this chandelier is the central ball stem comprised of a large brass
sphere, or series of ascending spheres, which support upward-curving arms. The Flemish town of
Dinant, in what is now Belgium, became renowned for its fine brass wear, known as dinanderie. Brass
was particularly suited to this design owing to its smooth surfaces which made it especially reflective of
candlelight. Flemish chandeliers often incorporated Gothic symbolism, religious figures and stylised
floral decoration. Particularly popular was the inclusion of a double-headed eagle emblem atop the
chandelier, as in the illustration below (Smith, 1994).
Flemish chandeliers gained exposure and recognition through the church interiors of the Dutch Old
Masters. Jan Van Eyck painted the earliest known image of a chandelier in 1434. This style of chandelier
was also featured in many of the paintings by Gerrit Dou, who was a pupil of Rembrandt, such as in The
Dropsical Woman created in 1663. Metal workers from Dinant dispersed across Europe which helped
popularise the Flemish style far and wide. Dutch brass chandeliers became fashionable in France during
the reign of Louis XIII (1610-43). But the style proved particularly enduring in England, which imported
more Dutch brass wear than any other country, and where manufacturers were to emulate the basic
design for centuries to come.

France and the Rock Crystal Chandelier

France is unique in Europe in that it did not start producing high quality glass until the late eighteenth
century. Glass was generally not well-regarded when compared to materials such as porcelain, silver or
ormolu. Instead, chandelier production was part of the metal working tradition and glass was
substituted for rock crystal, a transparent form of quartz. This led to the development of the Rock
Crystal chandelier. Whilst this style is most strongly associated with France, and with the palace of
Versailles in particular, it spread quickly amongst Europes most luxurious residences and came to
symbolise the epitome of wealth and grandeur.

This style of chandelier consists of a metal frame decorated with rock crystal pendants, drops and
rosettes. They were made by metal workers who imported the crystal drops from various places
throughout Europe, particularly Bohemia (today the Czech Republic). This widespread trade in drops can
make it hard to date and pinpoint the exact origin of rock crystal chandeliers. The earliest drops were
hand cut on rather slow wheels which meant they had a rather narrow angle of faceting (Smith, 1994).
However, in time the process was mechanised using steam power in large factories which enabled
deeper cutting. From around 1880 drops were polished with fluoric acid which significantly cheapened
and quickened the process of finishing. Quartz is helix-shaped, resembling the diamond in its molecular
structure and its natural crystallisation makes it more reflective than even the highest quality lead glass
crystals (Mccaffety, 2006). As will be discussed, manufacturers later found a more affordable way to
decorate chandeliers using glass, however quartz continued to be used to produce a few special fixtures.
French Baroque
The first chandeliers with rock crystals emerged in the seventeenth century. These were made in the
Baroque style which spread across Europe from its birthplace in Florence following the Renaissance.
Connections between rulers in Italy and France abounded during this time, and the arts and fashions of
the Italian renaissance exerted a great influence over the French monarchs. Louis XIV (1643-1715), in
particular, utilised architecture and the visual arts as a means to exert power and reflect his glory, a
vision which resulted in the development of French Baroque, also known as le style Louis Quartoze. A
typical chandelier from this period comprised an open or birdcage frame made of gilded bronze,
either in a vase shape or in lyre shapes with bouquet tops, and decorated with shining cut rock crystals.
The French Baroque chandelier is epitomised at Versailles. The Hall of Mirrors in the palace contains
many Louis XIV crystal lustre.

By the end of the century two main types of French rock crystal chandeliers had emerged: the lustre
tige dcouverte in the style of Louis XIV; and the lustre lace (also known as the Maria-Antoinetta, after
the princess of Naples and Sicily) which was even more ornate, with the frame being completely covered
in crystal beads and hung with pendants (Mccaffety, 2006). The sheer lavishness of these chandeliers set
the standard for royal grandeur across Europe. For example, in 1667 Charles II of England proudly noted
that he owned a rock crystal chandelier made in the Louis XIV style. France set and unified the fashions
across Europe during this period and French Baroque would continue to influence designers, being
revived on multiple occasions in the coming centuries.
Rococo France
Around 1725, the Rococo or late Baroque movement began to develop in France as a reaction against
the perceived extravagant excess of the Baroque style. The Rococo style gained popularity during the
reign of Louis XV. Typical chandeliers of this period were made of bronze and contained detailed designs
featuring soft curves, irregular swirls and leaf-like motifs. They had sprouted flower candle cup nozzles
and were often adorned with cupids, grotesques and garlands. The French designer Juste Aurle
Meissonier, who was appointed as a master goldsmith and designer by Louis XV, played an important
role in popularising the Rococo style, particularly with his engravings featuring asymmetrical foliate
motifs.

The Neoclassical Style & Other Revivals

Following the French Revolution, the Reign of Terror and the Directory period (1794-1799), the French
First Empire (1804-1815) led by Napoleon I was established. Up until this point, Louis XIVs championing
of Baroque had prevailed and set the fashions across Europe, but the fall of the house of Bourbon was to
bring about significant changes in design. This reflected the shifting culture of the time characterised by
growing disillusionment with the old ruling elite and increasing interest in the concept of democracy.
The frivolity and decadence of Baroque and Rococo began to be eclipsed by the much more restrained
neoclassical style.

Chandeliers made in this style drew heavily on the aesthetic of ancient Greece and Rome, incorporating
clean lines, classical proportions and mythological creatures. Napoleons Egyptian campaign of 1798
resulted in an influx of looted artefacts which provided a wealth of ancient design inspiration in France.
Jean-Charles Delafosse did much to popularise neoclassical motifs, such as a flame which was often
featured at the centre of lamp style chandeliers. The anthemion motif, along with symbols of victory and
references to the revolution, such as arrows, were also common additions to neoclassical chandeliers.
The fleur-de lis, an ancient symbol long used to signify royalty, had topped many seventeenth century
chandeliers, but was inverted by Napoleon and replaced with the Napoleonic bee to symbolise the
overthrow of the Bourbon kings (Mccaffety, 2006).
The fashion for neoclassical design was felt all across Europe during the late eighteenth and early
nineteenth centuries. In England, James and Robert Adam were pre-eminent designers working in this
style. They were strongly influenced by a trip to the archaeological sites at Pompeii and became
dedicated proponents of neoclassicism alongside other designers of the time, most notably Thomas
Chippendale, George Hepplewhite and Thomas Sheraton. Robert Adam (1728-1792) created a
particularly influential neoclassical design, known as the Adam style, which went on to inspire later
crystal chandeliers. It was long and slender, incorporating a Greek urn shape, an upper tier of arms
bearing crystal spikes or spires, along with canopies, swags, pear-shaped dressings and elaborate drip
pans (Mccaffety, 2006).

Following the French First Empire, the Louis Philippe style emerged (1830-1848) which was a late
expression of neoclassicism, typified by heavier and bolder forms, but still drawing inspiration from the
decorative elements of the First Empire style. Medieval themes and references to Greek mythology,
including depictions of the griffin and chimera, also characterised chandelier design during this period
(Mccaffety, 2006).
The Second Empire, presided over by Napoleon III (1850-70), was another period which borrowed
significantly from earlier styles, particularly those associated with Louis XIV, XV and XVI. This is
exemplified by Eugenie de Montijo, the Empress of Napoleon III, who was fascinated by Marie-
Antoinette and the pre-revolutionary lifestyle in general, and sought to revive the fashions of these
earlier periods. It was also during the nineteenth century that France began producing high quality glass
chandeliers. In particular, the glass manufacturer Baccarat started making chandeliers out of lead glass
in the 1820s, and has since become perhaps the most famous and successful producers of fine crystal in
the world. Baccarat chandeliers are characterised by their clean lines and dense hanging prisms.
Excellent examples can be seen in the Muse Baccarat in Paris.
The English Glass Chandelier
A separate strand can be traced in the evolution of chandelier design, which took off following
advancements in glass technology and resulted in the development of all-glass chandeliers, as
opposed to metal frames decorated with rock crystals. These were made in England from the 1720s
onwards after the discovery of lead or double-flint glass, but soon spread to glasshouses across
Europe. Glass is not technically crystal, as its production process involves no crystallisation. However, it
was designated as such, and as softer, more transparent and refractive types were developed it
eventually came to replace the use of rock crystal in chandelier trimmings (Mccaffety, 2006).

England has a distinctive history in terms of chandelier production. This is partly due to the fact that the
use of wood in the manufacture of glass was outlawed in 1615 meaning that there were no forest
glasshouses unlike in other European countries where these were the predominant sites of glass
production. Instead, glasshouses had to be built near to water in port cities such as Bristol so that the
raw materials and finished glass could be easily transported. The resultant factory environment
encouraged the development of rigorous apprenticeship schemes which fostered particularly high
standards of workmanship (Smith, 1994).

In 1676, flint glass was created and patented by glass merchant George Ravenscroft. This contained a
high percentage of lead oxide which improved the clarity of the glass and made it easier to cut, resulting
in better refractive surfaces and prisms which created a glistening rainbow effect (Mccaffety, 2006). As a
result of this innovation, England began producing the highest quality glass chandeliers of the time.
English style chandeliers followed the designs of the brass ball-stem made famous by the Dutch Old
Masters. The metal components, typically made of gilt or silvered, were limited to the main shaft,
receiver bowl and receiver plate. Glass arms were fixed onto the receiver plates, twisted downwards at
the base and then upwards with a holder and drip-pan for the candles being attached at the far end. As
the eighteenth century progressed, more cuts were added to the glass to create deeper facets and more
elaborate sparkle. In 1742 fused silver plating was created and placed inside the glass stem to act as a
mirror, creating an illusion of solid glass (Mccaffety, 2006).
The Georgian Period
Examples of glass chandeliers dating from the early Georgian period can be found in the Assembly
Rooms in York and also in the chapel of Emmanuel College, Cambridge. The stand-out examples of the
Georgian-era crystal chandelier, however, are those hanging in the Assembly Rooms in Bath. These were
made by William Parker, a glass manufacturer who was favoured by the English elite, including the
Prince of Wales and Duke of Devonshire. In 1771 he was commissioned along with Jonathan Collet to
design chandeliers for the Tea Room and Ball Room in Baths Assembly Rooms. Collet was charged with
the more substantial project, however not long after the unveiling he became discredited after his
chandeliers dropped three of their arms, were deemed unsafe and dismantled. Parker was subsequently
hired to make replacements. The pieces he produced were highly praised and signalled several
important advancements in chandelier design. Most significantly, he replaced the ball stem with vase-
shaped stem pieces. This represented the first use of neoclassical elements, resulting in a more slender
and elegant appearance, which ignited a fashion that was to prevail up until the Regency period.

The size of chandeliers increased considerably during this period. One particular chandelier fashioned by
Parker for Carlton House, the London residence of the Prince of Wales, was fifteen feet tall. Significantly,
Parker discovered that tapering the arms of large chandeliers was advantageous in terms of reducing
the leverage of the sockets (Smith, 1994). Another important point about Parkers chandeliers is that
they were the first to include a reference to their maker. Name stamps became increasingly common
from this point on, which reflected the growing importance of certain designers and manufacturers at
the time and which now makes it easier to identify and attribute chandeliers.

An interesting development in the story of English chandeliers occurred in the late eighteenth century
following the introduction of the Glass Excise Act in 1765 which levied a tax on all English glasshouses.
This had a lasting impact on the industry as it encouraged many glassmakers to relocate to Ireland which
was exempt from the tax. As a result, Ireland became a major centre for glass production in Great
Britain. In particular, the Waterford Glass House, established by George and William Penrose in 1783,
rose to prominence. This led to the development of the Waterford Chandelier which deviated from
the earlier brass ball stem design. The producers of these chandeliers did not manufacture the glass they
used. Instead, they either bought blanks or ready-cut drops from glassmakers. As the Waterford style
developed, canopies were introduced providing extra scope for drops and pendants. Drops were also
suspended from drip pans and chains and festoons were gradually added (Smith, 1994). There is a
significant collection of Waterford chandeliers in the State apartments at Dublin Castle.
English Regency & the Nineteenth Century
The Glass Excise Act tax also had important implications for the evolution of chandelier design in
England. In fact, it inadvertently resulted in perhaps the most impressive and popular style ever to be
created. This was the English Regency style, also known as the tent-and-bag chandelier. In an attempt
to cut costs, manufacturers veered away from glass-arm chandeliers made from expensive crystal
components. Instead, they used crystal drops cut from broken pieces of glass which they strung
together in multiple swags and hung from the top of the chandelier to form a tent shape. Additional
chains of drops were suspended from the bottom of the frame to create a bag. Hundreds of these
drops were used across the entire length of the chandelier, and they were packed together so densely
that the central stem and a good part of the metal frame were completely obscured. As there were no
longer any glass arms, the candles were fixed into ormolu holders attached to the frame. This style
emerged in England around 1790 and spread quickly across Europe. It gained particular appeal in
France, so much so that it began to be referred to both as English Regency and French First Empire. The
basic design also spawned thousands of variations in the years to follow. For example, around 1810,
long slender icicle drops came to replace the pear-shaped drops of earlier versions. These would
commonly be laid out in concentric circles, filling the entire base of the chandelier to create a waterfall
effect.
The most distinguished English glassmaker of the early nineteenth century was William Perry, who
followed in the footsteps of Parker, taking on the royal appointment as glass manufacturer to the Prince
Regent, the future George IV. The Prince Regent was a chandelier enthusiast and commissioned Perry to
produce several for Carlton House. This included a fifty-six light chandelier completed in 1808 which was
fourteen feet high and considered to be one of the finest in Europe (link to image 13). Perry also
produced nine inverted parasol chandeliers for the Music Room in Brightons Royal Pavilion (link to
image 14). The typical style developed by Perry consisted of tall, narrow stem pieces, large top canopies
adorned with swags and pear-shaped pendants, twisted rope glass arms and heart-shaped bottom
finials. Perry partnered with Parkers son to form Perry & Co in 1833. The influential company exported
chandeliers worldwide, as far afield as China, until its dominance was superseded by F&C Osler later in
the century.
The repeal of the Glass Excise Act in 1835 enabled English glassmakers to prosper. Chandeliers became
an increasingly important aspect of the glass trade during this century, with numerous firms involved in
their production. These were located principally in London but also in Liverpool, the countrys second
largest port. John and James Davenport, Henry Greene and Hancock & Rixon were amongst the most
prominent manufacturers, along with F&C Osler which dominated in the late nineteenth century.

The advent of the Industrial Revolution around 1780 had important consequences for chandelier design.
Mechanisation and technological advancements reduced manufacturing costs and facilitated higher
standards of craftsmanship. An example of this is the invention of a machine that could cut crystals with
perfect precision by Daniel Swarovski in Austria, which he patented in 1892. In addition, industrialisation
meant that wealth became more widely distributed across society, with a growing middle class being
able to afford luxury goods such as chandeliers for their homes. As in France under Louis-Philippe and
Napoleon III, the trend in nineteenth century England was towards reviving older styles, especially from
the Georgian, Baroque and Rococo periods. Increasing numbers of people aspired, and were able to
afford, to emulate the lives of the old aristocrats through acquiring luxurious ornamentations.

The nineteenth century was also a time when new sources of light emerged and gradually came to
eclipse the use of candles. These were generally cheaper, much brighter, more efficient and required
relatively little maintenance. Early in the century, oil- and then kerosene-burning chandeliers made an
appearance (Mccaffety, 2006). By the 1840s, gas lighting was common and the gasolier emerged in the
second half of the century. These were often made in the intricate Rococo style and featured both gas
burners and candle arms. As gas flames were found to burn too brightly in comparison to candlelight,
opaque shields made of alabaster were often added to soften the glare. However, it was the invention
of the electric light bulb in 1879 by Thomas Edison that had the most transformative effect on
chandelier and lighting design more generally. Lightbulbs very quickly became widely available in
lighting fixtures for domestic use. Chandelier designs were adapted in several ways. Most notably, solid
glass stems and arms were replaced with hollow versions so that they could accommodate electric
wiring. Many of F&C Oslers chandeliers were manufactured in this way from the late 1800s onwards.
The absence of candles also meant that chandelier arms and lighting fixtures could be twisted
downwards with light being directed down into the room.
Venetian Chandeliers
It is helpful to explore the evolution of the Venetian chandelier in separation from the other Europe
styles already discussed. This is because its development followed a quite separate trajectory, resulting
in distinct styles and techniques of manufacture. Venetian chandeliers are the product of the
exceptional glass-making industry of Murano, a small island near Venice. The history of Murano glass
began in 1291 when it was ordered that all glass manufacture should be transferred from Venice to the
island due to the risk of fire. Shortly after, the Venetian Republic introduced strict laws banning
emigration and local glassmakers from practicing their craft outside Murano. These measures
represented an attempt to contain glass production and its coveted secrets in one place and thereby
retain a competitive advantage in the face of foreign competition. However, despite the enforcement of
increasingly harsh punishments for defiant glassmakers, which included imprisonment and killings,
emigration from Murano to the rest of Europe was to continue throughout the coming centuries
(Magno, 2011).

The golden age of Murano glass production roughly spans the fifteenth to the early seventeenth
centuries. The industry took off in the 1400s after Angelo Barovier invented the perfectly transparent
glass known as crystallo which was to become exceedingly popular across Europe. Unlike rock crystal or
lead glass, Venetian glass is not cut. Instead, it is melted and moulded which makes it more malleable,
lending itself to intricate designs and also a softer appearance. Barovier, along with his descendants,
developed many of the techniques which lend Murano glass its distinctive style, including chalcedony
used to create multi-coloured glass (millefiori) and milk glass (lattimo) which was inspired by Chinese
porcelain.

However, it wasnt until the 1700s that the first glass chandeliers appeared. A particularly renowned
craftsman during this period was Giuseppe Briati (1686-1772). He specialised in the production of what
is now recognised as the classic Murano chandelier. These comprised a central metal axis from which
emanated numerous arms decorated with polychromatic or transparent flowers, leaves and fruits, as
well as moulded crystals. This new style of chandelier was known as a ciocche, meaning bouquet of
flowers. Their ornateness, exoticism and colour reflected the Baroque and Rococo influences of the
time. Briati is also famed for creating the Rezzonico chandelier, named after the palace that now houses
the Museum of Eighteenth Century Venetian Art. As the image below illustrates, these chandeliers were
often very large as well as being amongst the most colourful and intricate of all styles (Mariacher).
Unfortunately, it was precisely the popularity of Murano glass that would lead to a period of crisis
characterised by a substantial decline in demand and production from the late seventeenth century on.
Despite protectionist measures, Venetian-style glass was being imitated across Europe. France under
Louis XIV was particularly keen to free itself from importing Venetian products, and employed tactics to
encourage Muranos glassmakers to immigrate to Paris. It was relatively successful in this endeavour
which resulted in the founding of the Saint Gobain company in 1665, which became a leader in crystal
production.
Glass production in foreign markets also began to pose a serious challenge around this time. In
particular, Bohemian glass made of potash crystal and ideal for engraving was becoming increasingly
popular, as was English lead glass with its high refractive properties. Foreign competition became ever
more intense throughout the eighteenth century until crisis struck when Napoleons troops invaded in
1797 and the Venetian Republic ceased to exist. Along with many other industries, glass production
declined dramatically, many furnaces closed down and some techniques were entirely forgotten.

The tide of decline began to be reversed from the 1840s on. This was in large part due to the work of
celebrated Murano-born glass historian Vincenzo Zanetti (1824-1883) who made it his mission to revive
the islands foundries and traditional production techniques. In 1861, he established the Museum of
Glass on Murano in order to gather the best examples of glassware as a source of inspiration for future
generations. He also opened a school, which is still in operation today, for experienced glassmakers to
train young apprentices. In 1864, the first exhibition of Murano glassware was held on the island.
Murano glass was also showcased and highly praised at the universal exposition in Paris in 1867. The
unification of Italy during this period also created a more favourable climate for Italian-made products,
including Murano glass, to compete with other European countries. All of these developments
contributed to the revival of Murano glass and spurred its growing popularity. Pietro Bigaglia, Angelo
Ongaro, Giovanni Fuga, Vincenzo Moretti and Andrea Rioda are all examples of craftsman who studied
and revived ancient techniques such as murrine and milk glass (Mariacher). To this day, there is a high
demand for Murano glass chandeliers which continue to be exported all over the world.
Twentieth Century and Modern-Day Chandeliers
It is important to emphasise that throughout the twentieth and twenty-first centuries, the great historic
European chandelier styles have remained remarkably resilient. The Dutch brass-ball stem, French
Baroque and Georgian chandeliers, especially, have clearly stood the test of time. Still today, traditional
chandeliers not only survive, but are thriving, being continually emulated and reworked. There has
never been a wider range from which to choose, whether they be reclaimed period pieces, relatively
inexpensive repro models or handmade in traditional styles (Wilhide, 2005).
The chandelier did fall out of favour in design circles around the late twentieth century, owing to the
fact it was considered to be at odds with the preference for modern minimalist interiors (Wilhide, 2005).
Yet over the past couple of decades there has been a strong revival of interest amongst designers and
the general public. In todays modern homes, traditional chandeliers are increasingly placed in simple
contemporary settings to create a striking juxtaposition between old and new.

Having said this, there were some important design trends that made a resolute break from traditional
styles. The Art Deco movement of the 1920s and 30s saw designers enthusiastically embrace the
materials and structures of modern technology. The Paris Exhibition of 1925 featured some impressive
chandeliers made in the Art Deco style. The Art Noveau style of the late nineteenth and early twentieth
centuries (circa 1880-1910) also involved a rejection of traditional styles. Artists and designers turned
instead to nature for inspiration, and chandeliers typically incorporated designs featuring sinuous lines,
vines, flowers and insects. Louis Comfort Tiffany (1848-1933) was perhaps the most prominent figure of
the Art Nouveau movement and is particularly famed for his electrolier designs made with stained glass.

As previously mentioned, chandeliers fell out of favour for a considerable period during the latter part of
the twentieth century when minimalism and hidden or recessed lighting was the norm. In recent
decades, though, modern designers have enthusiastically embraced the chandelier and are creating
innovative designs entirely unrelated to previous styles (Wilhide, 2005). The wide range of
unconventional materials now being used, combined with innovations in lighting technology, such as
LEDs and fibre optics, has served to broaden the concept of the chandelier considerably, as the
examples below attest.

Swarovski launched the Crystal Palace collection in 2002 which featured several innovative
reinventions of the chandelier, including Tord Boontjes Blossom design consisting of an asymmetric
floral branch adorned with LED lights. Ron Arads Lolita, also made for Swarovski, features an
interactive spiral-shaped pixel board designed to display text messages via SMS and which comprises
over two thousand crystals set with LEDs. Todays chandeliers are being made with increasingly unusual
materials, often to produce a witty or ironic effect. One example is I Spy by Habitat, a chandelier made
of multiple tiers of plastic magnifying glasses which fracture light in a similar way to crystal. In 2002,
Peter Valois and Michael Marra of Touch Design created a chandelier using over 20 martini glasses.
Others have made chandeliers out of wine glasses, broken plates, glass bottles, discarded bike parts and
even gummy bears. Finally, the British designer Sharon Marston has pioneered the use of fibre optic
technology in chandelier design. She has created many notable one-off pieces using woven nylon and
fibre optic filaments and featuring petal, feather or shell forms to create a striking ethereal effect. Her
collection entitled Brilliant was the first ever contemporary lighting piece to be exhibited at the
Victoria & Albert Museum in London.
We have so many beautiful chandeliers on our site that it might be a bit daunting if you are just starting
your search for the perfect chandelier. There are so many search terms to try. Lets start at your front
door,for example. You can look for hallway and foyer chandeliers, or for stairwell and staircase
chandeliers. Large chandeliers look good in stairwells too. On top of that, you might have a style in mind.
You may be looking for antique chandeliers or vintage chandeliers, or modern designer chandeliers for
your home, or spectacular Swarovski crystal chandeliers. The choice is seemingly endless! So where do
you start? Anyone visiting our site will usually be looking for luxury chandeliers or luxurious chandeliers,
and they appreciate good quality and design. Our team have over 4 decades of combined experience of
talking to customers who need help.We know our stuff. We know the products. On top of that, we
usually know the glassmakers and the owners of the studios who are responsible for creating these
beautiful products. So put yourself in our hands. Read our blogs. Give us a call, and tell us what you
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References
Magno, A., 2011. Sand and Fire: Murano and its glass. Murano: Mazzuccato.

Smith, J., 1994. The Art of Enlightenment: A History of Glass Chandelier Manufacture and Design.
London: Mallett.

Mariacher, G. Venetian Glass Lamps and Chandeliers. The Connoisseur, pp.168-173. (unable to track
down date and edition of magazine article)

Mccaffety, K., 2006. The Chandelier through the Centuries: A History of the Great European Styles. New
Orleans, LA: Vissi dArte Books.

Wilhide, E., 2005. Light Your Home: A Comprehensive Guide to Practical and Decorative Lighting.
London: Conran Octopus Ltd.

Glossary of terms
Chandelier The term chandelier originated in the English language around 1736 and comes from the
French candelabra meaning candlestick. Prior to this, chandeliers and various hanging lights had been
known by other names, especially the French word lustre, a usage which spread across Europe.
However, by the eighteenth century chandelier was used by most of the world to describe any
decorative light fixture suspended from the ceiling incorporating two or more candles or electric lamps.

Arm A curved rod or tube, usually made of glass, which holds lights or ornaments. Also known as a
branch.

Receiver plate A circular plate, made of metal or wood, which is attached to the stem and receives the
arms. Also known as a container or arm plate.

Bag Tapered chains of drops hung from a circular frame and looped back under to form a bag-shape.

Tent - The tent-shaped component towards the top of a chandelier from which festoons are hung.

Coronet A metallic piece used to obscure the ring supporting the tent.

Rod The central metal support for the chandelier.

Hoop A circular metal support for the chandelier arms. Also referred to as the ring.

Canopy A saucer-shaped stem piece placed at the top or the bottom of the chandelier and adorned
with festoons of drops.

Crown A circular design usually made of metal and incorporating upstanding elements. Also known as
a corona-style chandelier.

Cage A design comprising a metal structure in place of the central stem which creates additional space
for candles and ornaments.
Stem piece Individual components which are assembled to form the central stem.

Nozzle A holder for the candle. Also referred to as a cup or sconce.

Drip pan A glass or metal dish fitted below the candles designed to catch falling wax. Also known as a
bobeche.

Drop A small piece of glass with a hole at one end so that it can be attached to the chandelier, usually
with a brass pin.

Bead A drop with a hole drilled right the way through it.

Festoon A series of drops hung together and draped horizontally across the chandelier. Also known as
a garland.

Waterfall Concentric circles of elongated drops which are hung below the hoop.

Spire A long pointed piece of glass to which decorative elements may be attached. Also known as a
spike.

Finial The piece of pointed glass at the base of the stem.

Baluster A central stem which has been moulded and twisted to form alternating narrow and bulbous
parts.

Electrolier A chandelier designed for electric lighting.

Gasolier A chandelier designed for gas lighting.