Of the early use of the various setts of the Stewarts little can be gleaned, unfortunately, even from painstaking investigation at the most likely sources. The pattern now submitted of the Stuart of Bute is a reproduction of another of the drawings omitted from the published _Vestiarium Scoticum_. It is clear from the correspondence between Sir Walter Scott and Sir Thomas Dick Lauder, already mentioned, that Charles Edward Stuart executed all the water-colours about 1829 (although the work edited by his brother was not published till thirteen years later) for the transcript of the MS. whereon the book is founded. The records of this, as of the previous design, point to its use having been confined almost entirely to the family from whom it derives its title, though others, more or less closely related, have likewise claimed an interest in the wear. Whether or not the pattern was employed by the Stuarts of Bute prior to the production of the MS. by the father of the Stuart brothers has not been ascertained. [Illustration: XXXVII. STUART OF BUTE] WALLACE. For this design there are records extending over a hundred years; and it is credibly asserted that the tartan is of much greater antiquity. Be this as it may, the pattern is placed under its proper name in many collections formed early in the century. Somewhat inexplicable is the fact that the tartan usually styled Mac Lean of Duart was greatly worn by certain Wallaces down to about twenty years ago. It is, indeed, frequently designated in old books of tartan relics as Mac Lean and Wallace. Yet no record of either family furnishes any explanation of this singular conjunction. The accumulation of evidence as to early use by the Wallaces of the example here illustrated has now led to its adoption by all bearing that name. It is a family tartan, for the Wallaces were in no sense a clan; but its antiquity, and its authenticity, entitle it to a place in this work. [Illustration: XXXVIII. WALLACE] FROM A PORTRAIT OF THE COUNTESS OF LENNOX.