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Baris 69: 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 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~~kerongsang is being worn, 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 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> 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 Insular [[illuminated manuscript]]s, 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 [[carpet page]]s, 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 combine elements from many stylistic origins into a style that is distinctly Insular: La Tène Celtic art, Germanic [[animal style]], and classical and other Mediterranean styles.

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