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[[File:Brit Mus 17sept 016.jpg|thumb|left|Detail [[Kerongsang Londesborough]] (akhir abad ke-8 atau awal abad ke-9)]]
Batang tubuh kerongsang biasanya dibuat dengan cara cetak tuang, dan telah ditemukan beberapa bagian dari cetakan dua pelat.<ref>Youngs, 170–171, 189–193; NMI, 176–177</ref><!-- Banyak kerongsang memiliki cells for studs or bosses that are most often round hemispheres, buttetapi maybisa bejuga squarepersegi, lozenges maupun bentuk-bentuk lain; verysering oftenkali the studs themselvesitu sendiri sekarang sudah hilang. These are in a variety of materials including kaca, email, [[amber]], dan batu-batu permata lokal, although not including any of the classic modern "ratna mutu manikam", or even the [[garnet]]s found in perhiasan Inggris-Saksen. However the kaca ''[[millefiori]]'' rods yang adakalanya digunakan tampaknya diimpor dari Italia, contohnya seperti yang terdapat pada perhiasan-perhiasan Saksen-Inggris dari [[Sutton Hoo]]; contoh-contoh of the rods sudah ditemukan dalam ekskavasi di Irlandia maupun di Inggris.<ref>Youngs, 202–204</ref>
Sebagaimana cawan-cawan Insuler dan barang-barang kriya logam lainnya, thesebagian verybesar ornate kerongsang-kerongsang Irlandia wereyang mostlypaling madesarat inhiasan manydibuat piecesdalam whichbanyak arebagian pinnedyang ornantinya slotteddisambung-sambungkan satu sama lain dengan togethermenggunakan jarum atau baji. Filigree decoration was often made on "trays" which fitted into the main ring — on thepada Kerongsang Tara many of these are now missing (most were still in place ketika ditemukan pada tahun 1850).
[[File:Brit Mus 13sept10 brooches etc 015-crop.jpg|thumb|[[Kerongsang Breadalbane]], Irlandia, abad ke-8, diubah dari bentuk penanuler semunya di Skotlandia pada abad ke-9.<ref>Youngs, 94–95</ref>]]
Teknik-teknik mencakup [[chip-carving]], cast "imitation chip-carving", [[filigree]], [[engraving]], inlays of various types including [[niello]], kaca dan email [[champlevé]], serta berbagai macam teknik tempa dan tatah: "the range of materials and techniques is almost the full range known to man."<ref>Youngs, 171–173, quote 171</ref> Two techniques that do not appear are the "true pierced openwork ''[[interasile]]'', much used in Byzantine jewellery",<ref>Youngs, 171–173</ref> and the [[cloisonné]] work that typified muchbanyak Westernperhiasan EuropeanEropa jewelleryBarat, anddan especiallyteristimewa largefibula-fibula fibulaebesar, at the time, whether in enamel or stone inlays like the garnets used so effectively at Sutton Hoo and in the Anglo-Saxon [[Khazanah Staffordshire]]. Pada kerongsang-kerongsang bersepuh emas, penggunaan email dibatasi pada studs that punctuate the composition like gems; the larger areas of champlevé found on the flared terminals of earlier types perhaps continue in simpler types, though dating is difficult.
Pada beberapa kerongsang, the decoration is too detailed to be appreciated when thebilamana kerongsang is beingsedang worndikenakan, and some of the most elaborate brooches have their backs, invisible when worn, decorated almost as elaborately as their fronts. Kerongsang Tara shows both features, and in addition, shares with some others a difference in decorative styles between front and back, with "Celtic" [[triskele]]s and other spiral motifs restricted to the back, while the front has more [[Interlace (visual arts)|interlace]] and zoomorphic elements.<ref>NMI, O'Floinn, 177; Youngs, 207</ref> These features are also shared by the most ornate brooches in London dan Edinburgh, respectively the Londesborough and [[Hunterston Brooch]]es.<ref>Youngs, nos. 69 and 71; [http://nms.scran.ac.uk/database/results.php?offset=1&no_results=12&scache=73160e864v&searchdb=scran&sortby=&sortorder=ASC&field=&searchterm=%2B%22Melbrigda%22 Hunterston Brooch from NMI]; see external links for the other museum pages.</ref> This may be because decoration on the backs relies more on engraving than filigree, which would risk wires getting caught in the clothing on which the brooch was worn.<ref>NMI, 183</ref>
Few of the major brooches, or indeed other metalwork, have been found in contexts that can be easily dated, and much of the dating of at least the earlier ones comes from comparison with naskah-[[naskah beriluminasi]] Insuler, though the dating of these is often itself far from certain. The Tara Brooch has long been recognised as having clear stylistic similarities to the [[Lindisfarne Gospels]], thought to date to about 698–715. Many of the similarities are to the [[halaman permadani]], highly detailed ornamental pages filled with decoration, which share with the brooch a certain ''[[Horror vacui (art)|horror vacui]]'' that leaves no area unembellished, and also complex decoration that is extremely small and perfectly executed, and best appreciated when seen at a larger than actual scale, whether in the original or in photographs. Both--> combineKedua-duanya elementsmemadukan fromunsur-unsur manydari stylisticpelbagai originsgagrak intoseni arupa styleyang thatmembentuk isgagrak distinctlyseni Insular:rupa yang khas Insuler, yaitu gagrak seni rupa Kelt La Tène, [[gagrak satwa]] khas Jermani, serta gagrak klasik dan berbagai gagrak Mediterania lainnya. -->
<gallery widths="200px" heights="200px">
File:St Ninian's Isle TreasureDSCF6202det.jpg|Ujung-ujung kerongsang berbentuk satwa bersemuka, [[Khazanah Pulau Santo Ninianus]]
File:Brit Mus 17sept 014-crop.jpg|Ujung-ujung berbonggol "menduri" pada kerongsang waga-waga
</gallery><!--
=== Kerongsang terkemudian dan kerongsang Viking ===
===Later brooches, and the Vikings===
[[File:Britishmuseumpenrithhoardbrooches.jpg|thumb|Kerongsang-kerongsang penanuler zaman [[Viking]] period penanuler brooches from thedari [[PenrithKhazanah HoardPenrith]], threetiga ofdi theantaranya adalah kerongsang "[[thistlerumput duri|waga-waga]]" type.]]
TheSerbuan [[VikingsViking|bangsa Viking]] beganke toIrlandia raidyang Irelandbermula pada fromtahun 795, withmenimpakan catastrophickerugian effectyang forsangat thebesar, khususnya bagi [[monasterybiara (tempat tinggal)|monasteriesbiara]] in particular-biara.<!-- However, although the Vikings established several [[longphort]]s, initially fortified encampments for over-wintering, and later towns like [[Dublin]], [[Wexford]], [[Cork (city)|Cork]], and [[Waterford]] (the first real urban centres in Ireland), the native Irish were more successful than the English and Scots in preventing large-scale Viking takeovers of areas for settlement by farmers. By about the year 1000, the situation was relatively stable, with a mixed population of [[Norse-Gaels]] inint the towns and areas close to them, while the Gaelic Irish, whose elite often formed political alliances, trading partnerships and inter-marriages with Viking leaders, remained in control of the great majority of the island, and were able to draw tribute from the Viking towns.<ref>Ship, Doherty, 34–35</ref>
[[File:Roscrea Brooch.jpg|thumb|left|upright=1.0|[[Kerongsang Roscrea]], abad ke-9, [[Museum Nasional Irlandia – Arkeologi|Museum Nasional Irlandia]]]]
The period is characterised by a greatly increased availability of silver, presumably the result of Viking raiding and trading, and most brooches are made from silver throughout, as gilding and decoration in other materials nearly disappears. The brooches are often large and relatively massive, but plainer than the most elaborate earlier ones, neither using older local decorative styles nor the Viking styles that were adopted in other media. This continues a trend that can be detected in later brooches from the preceding period, before much Viking influence can have made itself felt. The 9th century [[Roscrea Brooch]] is one of a number of transitional brooches; though its form is highly ornate, with a large flat triangular pin head, the ring is thick plain silver, the gold filigree panels occupy relatively small areas, and their workmanship is a "coarse" or "crude" imitation of that of earlier works.<ref>NMI, 215–216, and 230, "crude"; Youngs, no. 79, "coarse". [http://www.unc.edu/celtic/catalogue/brooches/roscrea.html Illustration here]</ref> The Kilamery Brooch is another ornate and high quality example, with a marked emphasis on plain flat silver surfaces.<ref>NMI, 215; [http://www.unc.edu/celtic/catalogue/brooches/kilamery.html photo]</ref> There are rare exceptions in which a highly decorated brooch shows Scandinavian stylistic and technical influence, notably an Irish brooch from [[Rathlin Island]], with areas stamped where the Irish tradition would have used casting.<ref>Ship, O'Floinn, 90;</ref>
TheKerongsang-kerongsang broochestersebut appeartampaknya todibuat haveoleh beenpara madepekriya bylogam "nativebumiputra" metalworkers, buttetapi worndipergunakan byoleh bothorang VikingsViking andmaupun Gaelsorang Gael.<ref>NMI, Wallace, 213–216</ref> The very popular '''thistleKerongsang-kerongsang broocheswaga-waga''' haveyang terminalssangat andpopuler oftenitu pin-headsmemiliki thatbonggol arepada likekedua [[thistle]]ujung flowers,cincin withdan akepala balljarum toppedyang bydibuat amenyerupai roundkuntum projectionbunga [[rumput duri|waga-waga]], oftenseperti bola-bola flaredberduri; they are called by the term regardless of whether or not the ball is "brambled"—that is, formed with a regular pattern of small tapering projections, like the two lowest brooches from the [[Penrith Hoard]] illustrated here. These, and other globular endings to terminals and pin-heads, were common, but flattened terminals continued to be made, now ornamented by round silver bosses amid simple repeated patterns, or interlace that is larger in scale than in the earlier ornate badges. In these, the ring often ends in a "gripping beast" biting the terminal plate. The mixture of types seen in the 10th century Penrith Hoard is typical.<ref>Compare the very similar selections of brooches illustrated at NMI 238 and 240.</ref>
[[File:Brit Mus 13sept10 brooches etc 036.jpg|thumb|left|Brooches made in Scandinavia, mostly in base metal]]
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