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niques: "the range of materials and techniques is almost the full range known to man." Two techniques that do not appear are the "true pierced openwork interasile, much used in Byzantine jewellery", 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 featur es, and in addition, shares with some others a difference in decorative styles between front and back, with "Celtic" triskeles and other spiral motifs restricted to the back, while the front has more interlace and zoomorphic elements. These features are also shared by the most ornate brooches in London and Edinburgh, respectively the Londesborough and Hunterston Brooches. 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. 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 manuscripts, 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 sim ilarities are to the carpet pages, highly detailed ornamental pages filled with decoration, which share with the brooch a certain 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 larg