Me 

Reason

Evidence 

[click on images in this column to see further documentation]

There is some conjecture as to the correctness of Nobli wearing these as some see them purely as a fetish item worn only by prostitutes and courtesans. 

I dismiss this as a purely modern interpretation.  Face it, Ladies really do need to wear something like that for comfort.

Not my best look but it's how it all starts for the wearing of a Venetian frock.  First article a smock.  Because the chemise or carmica is worn over the corset there should be something against the skin for the wearers comfort and to protect the corset.

Seen left is mine in linen

Seen right is a manuscript image of a woman wearing what appears to be a similar item to that which I have theorized on.

The underskirt next.  This also goes on under the corset to allow that flat look at the front.

The fullness of the Venetian silhouette is not from hoops or bum rolls, rather I suspect an underskirt.

Mine is cartridge pleated, It could have been on a draw string but I prefer cartridge pleating.

Right can be seen an underskirt showing from under the ladies dress.

The essential instrument of torture.  

We are not raised wearing corsets now as was done in times gone by.  Thus we are not accustomed to having our bodies contorted in such ways.  They can be uncomfortable it they are not fitted properly, just like a bra.  With our a corset the silhouette will not be as it is in the portraits. 

Left you can see my corset over the smock and the underskirt.

Right you can see an extant late 16th century Italian reed corset, and you can also see that the eyelets are offset for spiral lacing..

The chemise or carmica is worn over the corset.  My chemise is a fixed neck silk chemise edged in fine cotton lace.  This one also has cuffs.  The second image from the top of the page also appears to have cuffs.

The chemise seen to the left had the following information attached, from the Metropolitan Museum of Art, New York.  This chemise or carmica bears a striking resemblance to the one seen in Cesare Vecellio's Costume Plates printed in 1590 but dated 1589.

Another view of the chemise from the side.  

I was actually putting on my partlet when a lose thread was found.

This is the back view of the bodice and partlet.  This partlet couldn't be any simpler.  It is a piece of light georgette folded on the bias and pined into place.

Right can be seen a Titian portrait of a Lady In White 1553.  Her partlette is very simple and resembles that which I am wearing.  

Below is Veronese' Portrait of a Woman 1570 with the same partlet effect.

The end results are a far cry from the start point.

But I feel that it is all worth it to achieve the look desired.