The present study examines a surviving chandelier listed in the post-mortem inventory of Sophia of Wittelsbach (1376–1428), wife of Wenceslas of Luxembourg, king of the Romans (1376–1400) and king of Bohemia (1378–1419). By focusing on its materiality, including amber and walrus ivory, the article aims to uncover the chandelier’s multiple intricate purposes and, through these, to gain insights into how high social elites in the late medieval era, such as the Luxembourgs, perceived the natural world, engaged with the physical remains of non-human species and cultivated social and artistic practices to secure and enhance their power and protection.