Yeah, I do love the octagonal walkway and definitely the "lanterne". The rooms, I tried already some things but it just doesn't fit or is not logical at all.
Rooms that are huge are often a pain in the neck, too small you're stuck with cameras.
Thank you very much for your kind words Tatiana. I started Bellevue a long time ago, the project is on hold for quite some years now.
First since I have no clue if it ever will be used in sl and I'm a bit bored of making buildings for my inventory and here or there perhaps...
Also another main reason is that I'm a bit stuck with some logical solution of the attack as you know. One day we go there and perhaps there is some inspirational moment. 
Spain, the XVIth century, the monastery of Campodios. Feeling his end approaching, abbot Hardinus calls for Vitus, the now young men he protected and has seen growing up within the walls of the abbey after he was found as a baby. He passes him a piece of damast and tells him the very few things he knows about him.
For Vitus the very start of his search for his origin, friends, ambuches, a rather unfortunate encounter with the inquisition and in most of the cases a way to practice his skills as a surgeon.
Till there the story in a nutshell. I'm afraid I can be rather hard in comments. The story is interesting to pick some things up but it could be so much more. Development of the main caracther... well... the perfect guy without human weakness rarely makes an interesting character, simple said, development, history, depth... it's all pretty on the surface and that counts for all types. Medical treatments.. I bet that the author did do his research. Problem is that when you want to explain too much in a novel it becomes rather interrupting. The story falls appart. The end of the book is disappointing, too many coincidences, too many things that just go smooth without any further question.
As for my knowledge of barber/surgeons of the time, my guess it was a bit less nice then it appears to be in the book. But OK I'm far from a specialist in the field.
Since I have the second book of this series and since it's not so evident to get books that in a for me understandable language where I live reading the second part "Le Chirurgien de Campodios". Catherine and I have been reading the book at the same time. The conclusions where for both +/- the same.
TY Leopoldina, credit for texturing goes to Catherine
Thank you , right now bringing in a little copper candlestick holder (Directoire - 1795 ~ 1999) just after the French revolution. FP mesh should be on the market tomorrow or perhaps this evening. At least the FP version. A new sleigh should be made too the former one was my very first model I made in maya. Meanwhile... euhm... let's say the skills have increased a little bit.
A cooperation between Catherine and Zed de Tremont, "Twice Baked" and "Caprices des Anges".
Asked my mother to take some pictures of some antique objects she has of which some are passed down for at least a few generations. Not all of them are suitable to recreate for virtuals but some of them are actually very suitable.
First one a simple but nice Louis-Philippe chair (1830-1848), this is the easiest to recreate version there is still one where swan heads are worked in the back. Very elegant but need to think about how to handle those.
With the Louis Philippe style it was for the first time possible for the middle class to have more "elevated" furniture. It is the start of democratisation of a number of pieces of which the most famous and typical for this time is the sledge bed (lit bateau). Typical are gracious curved pieces of wood. Relatively simple and less ornamented furniture and in general easier to accept for modern eyes in a more modern interior. Artisans started to work in series instead of individual pieces. The industrial revolution had started.
thank you Gabrielle, hope to one day make the rest of the set, time... time... time...
Thank you for sharing this info Tatiana, both tools are wonderful.
Been following the Bento project for quite some time now with great interest. The supreme goal always has been to make animation as we need them. Only I refused as long as an eating animation looked more as slapping the food on your face and smearing it around with a flat hand lol. Hands and facial animations are extremely important, they had to be alive too. Got the tools to do it, now need to find the time to do more study work. I know I'm sometimes a bit too critical but remarked that something weird happened with the rig on the back of the hand. Wonder if this is due to sl and if this can't be improved.
Anyway, extremely glad that this and a wealth of other things can be done now.
Thanks also for the 360 degrees link, didn't hear about this one.
Since many people on the website know English better then French I'll try to make a translation for Catherine, please forgive me for some mistakes, both languages are foreign for me so it want go without an effort.
The moment we think about cabinets we automatically make the link with the XVII century. In fact the fashion starts in the middle of the XVI century. This piece of furniture set up as a cupboard with a multitude of drawers and spaces which might be hidden or not. Those, often masterpieces of craftsmanship where elevated by some decorative feet.
Cabinets were the first examples of cabinet work (ébénisterie), finding the term in English I presume it has a fairly good chance the word is even extracted from it. Very often Ebony veneer was used to to cover the surface but ivory, mother of pearl and other very valuable materials where used.
Cabinets have been influenced from many sides. Pieces that still can be found in France today are made by artisans of what is now Belgium, the Netherlands, Italy and Germany. (little add on) As I'm Flemish and lived in Antwerp for quite some time I've seen many examples of these exquisite pieces of art. Antwerp used to be one of the important centres for the production.
In the beginning cabinets where used as a decorative storage place for jewellery, afterwards they became crownpieces for collectors of art, they became a mean to showcase very precious small objects to select people. It was an honour if you could see the treasures they held. The centre piece mostly had mirrors on the side with arcades to be able to see the object in the centre from all sides without having to touch it.
Any person of standing had to have one during the XVII and for quite a while had to have one. All royal residence had some, many can be found nowadays in musea and private collections.
