\section{Tunics}
\label{sec:four}

This section deals with overgarments that appear to be 
most common in depictions of formal events in upper
classes of the social structure.

Early in the 15th century one hardly ever sees more of
foundation clothing than the collar of the doublet, and
the small amount of shirt and hose that projects
beyond the compass of the enveloping houpeland.

In the period addressed by this article the houpeland 
has evolved in shape, become shorter; varying between
buttock and ankle length, but no longer trailing on the 
ground. Art works often depict fashionable youths
wearing very short risque tunics juxtaposed with their
more conservative elders wearing longer formal gowns.

Nonetheless all lengths of tunics as well as more formal
ceremonial robes reaching to the ground, remain common
in artistic depictions. 

\subsection{Material}

While noting that the primary focus of discussion here 
is more specific, the materials used in construction of
robes are common to all the types of robes we have discussed.
Cloth used to make the majority of robes appears to be
wool, velvets and brocades; with the very high end being the
metallic brocaded cloths termed "cloth of gold".

Invariably overtunics of this type are trimmed with
fur, and in many cases appear to be fully lined with
fur. Decoration with embroidery can be seen in many
examples\footnote{See Cardini, Clegg and Birbari for
numerous illustrations which support this claim
both from portraits and court scenes.}.

\subsection{Form and Function}

While the function of overtunics of this type is functional,
in that they are warm and easy to vest and de-vest, it 
also appears from the rich cloths and furs used, and
the large quantity of cloth required to achieve the 
deep folds and draping; that such tunics also served
to display the wealth and power of the wearer.

The tunic relies on the body shape produced by the doublet
to assist the tunic to sit in even pleats and also to
give the rounded pidgeon breast shape that was fashionable
at the time. Consequently, while we often see people 
depicted wearing only a doublet and hose, wearing an
overtunic without a doublet is almost never shown\footnote{
The exception to this is when the overtunic is worn as
a type of surcoat over armour. In this case the armour
serves to define the body shape, and gives an identical
profile since armour style was influenced by clothing,
and the tunic is worn directly over the armour. 
This appears to have been common practice
since many battle scenes show a majority of 
the participants clad in armour and overtunics.
Whether this was due to heraldic conventions or merely
a matter of panoply on the field remains the
subject of speculation.}

\subsection{Cut and Construction}

Due to the fact that this report is on a 
work in progress details of cut and construction 
of tunics remain a focus of further work.
