Brussels lace has always been a much-prized variety: it is made both in the “_point à l’aiguille_” or needle-point, and in “_point plat_” or pillow-made, and sometimes it is a mixture of both, where the flowers are made separate in needle-point and are worked in afterwards to the various “modes” and mesh or net grounds. The Brussels mesh is peculiar in having two of its hexagonal sides longer than the other four, the former two being plaited with four threads, while the latter four are composed of a two-thread twist, and the cordonnet is well raised around the pattern and is plaited. The patterns in Brussels lace are of all kinds, but are chiefly imitations of French designs; it is a common thing to find Alençon and other French patterns copied in this lace. In France, Brussels lace was known by the name of “point d’Angleterre,” from the fact that great quantities of it were imported, and also smuggled into England during its prohibited importation in the lace-weaving period of Charles II. [Illustration: Fig. 283.—Border of Mechlin Lace.] Ancient Spanish point-lace was like the Venetian raised work, but much of the so-called Spanish lace was really Flemish, and was largely imported from the Spanish Netherlands. Honiton in Devonshire, and Buckinghamshire are the chief centres of the lace making in England. Honiton lace is pillow-made, and is similar to Brussels in fabrication, the designs of which were originally sprigs of flowers, but have developed to a kind of guipure work held together by “brides” (Fig. 284). [Illustration: Fig. 284.—Honiton; Modern.] Buckinghamshire lace is also pillow-made, and resembles Flemish lace in design, but is a little more irregular and weaker in drawing. Irish lace is known under the name of Carrickmacross—a kind of cut linen work; Limerick—a species of embroidery; and point lace, made in Ulster and elsewhere in Ireland (Fig. 285). Many efforts have been made in recent years to revive the Irish lace-making industry, which have been attended with a good measure of success, particularly in the schools attached to the convents. A great modern revival of lace making has taken place in the island of Burano, near Venice, which dates from the year 1872. This is due to the energy and ability of Madame Bellario, assisted by the patronage of the Queen of Italy and other members of the royal family. The variety made is the needle-point, and the designs are mostly good copies of the old Venetian and seventeenth-century French patterns. [Illustration: Fig. 285.—Irish Point; Modern.]