A wide black travertine saucer, 25 cm across, with an opal glass globe sitting under the middle of it. The widest piece in the pendant range and, at 10 cm deep, also one of the shallowest, which is a combination that usually means a metal fitting rather than a stone one.
The saucer works as a reflector turned upside down. It stops the globe throwing light at the ceiling and pushes everything down and outward instead, so you get the diffuse glow of a bare globe with none of the wash above it. In a room with a dark ceiling that difference is the whole game.
Where it earns its place
-
Entrance halls. Wide enough to be the only fitting in the space, shallow enough to hang under a standard ceiling without ducking.
-
Over an island. One centred does what two narrow pendants do, and the visible globe gives the room a soft point of light rather than a bright slot.
-
Rooms where the ceiling is the problem. Artex, a bad patch repair, a sloping line. The saucer keeps light off all of it.
-
Black travertine. Against the opal glass the contrast is at its strongest here, more so than on any other piece in the range.
Real stone, so no two are the same
Cutting a 25 cm saucer takes a wide slab, and a wide slab shows everything: the banding, the seams, the open pores. On black travertine those pores read as light flecks. Your saucer will not match the photographs and, at this width, the difference will be obvious. That is what buying stone means.
Hanging it
Two hundred centimetres of cable, trimmed to your drop. In a hall, keep 2.1 m from the floor to the bottom of the globe. Over an island, 80 cm from the worktop to the underside of the saucer. This one takes a G9 LED bulb rather than the E27 used elsewhere in the range, and the bulb is included. Not dimmable, and it wants a qualified electrician. The 12 cm wooden ceiling plate covers a standard rose.
