Pattern:

The pattern for the guibone can be seen left, using the toile method. This was done over the existing dress, so give a better fit. I used the chevron pattern from the portrait of Lucrezia, but reversed it so it was more reminiscent of my device (Purpure, 3 chevronells braced). (Finally something I can use this motif on!) As this guibone is a special case (having to fit over an earlier dress to transform it),  the sleeve toile was made over the rouched sleeves, left. At this time, I decided to change the sleeve appearance, from a double rouched sleeve (as in Lucrezia di Cosimo I, c.1555-60 above) to a more simpler sleeve on the right. Anguissola's SelfPortrait. (Note: not Florentine)

Interlining Layers: I did not have any felt left in my material stash, at this point, so I substitued four layes of drill for the interlining, to give stiffness. (left). The simpler sleeve toile can be seen here too. Right is the material that will be on show! Purple velveteen for a rich look, and linen for lining. This will use up this remaining velveteen from my material stash. Left, is the lining, quilted together. This should make the guibone stronger and give stiffness.

Outer Velvet Layer & Trim:
The outer layer was then added to the guibone. This involved a lot of pins (2 boxes) and loss of blood! Rather than just pinning the trim pattern lines, as originally thought, I decided I am anaemic enough and stitched all of the lines for the trim. (seen left).
The trim was handsewn onto the body of the guibone (right). Then the sleeves could be attended to.... a lot of handsewing again! Sleeves:

LINING :   The linen lining was 'hemstitched' into place rather than baglined. I find it is less fiddly to handsew the lining in rather than sew with the machine and turn inside out! I also find the curves and corners are less bulky. Examples of hemming in the lining can be found in Janet Arnold's Patterns of Fashion.

 
Final Decorations and Closures:

In the   Florentine School Lucrezia di Cosimo I, c.1555-60 ( left) the front is closed with tied bows. I made some cords from a simlar coloured cord, as the braid trim and attatched some aglets I made from glass pearls and amethyst (from my stash of bits). - below left.   Below,  right is the finished guibone (doublet!!)

UPDATE: (MAY 2008) Far right
After wearing the guibone, I found it impracticle with the ties and hook/eyes. I decided to go with my other option of buttons and loops. The buttons were thread weaved over a wooden bead base. The loops were fingerbraided and slipped through a hole made by a stiletto to keep the material intact.

After much thinking, I decided to add a partlet on the inside of the guibone to match the outfit. (finally, the partlet was finished...seen on the right.) I used an 'antique' hem stitch which has pulled threads, down the front of the partlet. I used some freshwater seed pearls, that I was given at a Laurel prize tourney, on the collar of the partlet. I am also toying with buttons on the sleeve panels, as seen in this portrait of Eleanora (found by the commission for looted art in eurpope). This is an earlier sleeve (longer... the sleeves got shorter as the decades passed, from 1550s).