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Baris 64: 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, but may be square, lozenges or other shapes; very often the studs themselves are now missing. These are in a variety of materials including kaca, email, [[amber]], and gemstones found locally, although not including any of the classic modern "ratna mutu manikam", or even the [[garnet]]s found in perhiasan Inggris-Saksen. However the ''[[millefiori]]'' glass rods sometimes used appear to have been imported from Italy, like those used in the Saksen-Inggris jewellery from [[Sutton Hoo]]; examples of the rods have been excavated di Irlandia maupun di Inggris.<ref>Youngs, 202–204</ref> Like the Insular chalices and other metalwork, the very ornate ~~Irish~~kerongsang-kerongsang ~~brooches~~Irlandia were mostly made in many pieces which are pinned or slotted together. Filigree decoration was often made on "trays" which fitted into the main ring — on the Tara Brooch many of these are now missing (most were still in place when it was found in 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>]] Techniques include [[chip-carving]], cast "imitation chip-carving", [[filigree]], [[engraving]], inlays of various types including [[niello]], ~~glass~~kaca ~~and~~dan email [[champlevé]] ~~enamel~~, ~~and~~serta berbagai ~~various~~macam ~~hammering~~teknik ~~and~~tempa ~~chasing~~dan ~~techniques~~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 much Western European jewellery, and especially large fibulae, at the time, whether in enamel or stone inlays like the garnets used so effectively at Sutton Hoo and in the Anglo-Saxon [[Staffordshire Hoard]]. In the gilded brooches, enamel is restricted to 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. On some brooches the decoration is too detailed to be appreciated when the brooch is being worn, and some of the most elaborate brooches have their backs, invisible when worn, decorated almost as elaborately as their fronts. The Tara Brooch 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 and 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>

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