Fig. 50, the Elliot, is not of this class, for it is composed of blue, brown, and a small band of scarlet, the red being used to give cheerfulness of tone. The order of colouring is:⁠—

It is a simple check, yet is exactly of that type which is capable of interesting development by modification.

129. Four-Colour Plaids.—Three of the most interesting tartans of this class, whether produced in neutral shades or in the original colourings, are the MacKinnon, Dundas, and Fraser. They have few elements in common, as comparisons of Figs. 51, 54, and 57—the plaids in the unmodified forms—distinctly show. The MacKinnon in particular is characterized by simplicity of form and scheme of colouring; the Dundas is a heavier base; and the Fraser full of details and of shade contrasts. They are also dissimilar in colour qualities. The MacKinnon and Dundas are both dark plaids, the former being composed of brown, green, scarlet, and white, and the latter of black, green, scarlet, and blue. The Fraser is an admirable compound of scarlet, black, green, and white. The following are the orders of colouring for the respective tartans, with their modifications:—

The MacKinnon (Fig. 51).

MacKinnon—First Modification (Fig. 52).

MacKinnon—Second Modification (Fig. 53).

Both these changes result in the formation of excellent plaids for travelling rugs. The check given in Fig. 53 would be difficult to improve upon by combining four shades.

The Dundas (Fig. 54).

Dundas—First Modification (Fig. 55).

Dundas—Second Modification (Fig. 56).

The Fraser (Fig. 57).

Fraser—First Modification (Fig. 58).

Fraser—Second Modification (Fig. 59).

130. Five, Six, and Seven-Colour Plaids.—These are much more limited in variety, but the following may be given as examples:⁠—

Clan Alpin (Five-Colour).

Royal Stuart (Six-Colour).

MacLean (Seven-Colour).

In the exposition of tartans given, it has been shown that this scheme of colouring is not only useful in the production of the original plaids, but that it may be subjected to almost an endless series of modifications. Many of these, as well as the plaids themselves, when developed in subdued colourings, are suitable for styles in dress and mantle fabrics. In recent years they have also been developed in the foundation of plush and other textures. They are specially suitable for such textures, inasmuch as the contiguity of the figuring formed in velvet or loop pile destroys any stiffness of character which lines of colour, cutting each other at right angles—as in all check patterns—must more or less possess. To the student of colour contrast and harmony these patterns are interesting and suggestive. They are illustrative, not only of how bright colours may be blended without yielding patterns in which the contrasts are displeasing, but also of the quantities of the colours which give the most harmonious composition. As they are distinctly textile colourings, and are the product of weaving, they possess qualities which are not to be found in any other type of colouring. The field which has been covered has by no means been fully explored. There are many possibilities in this branch of textile work which can only be analyzed by systematic experiments conducted in the loom.