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We apologize for translation quality.
 For building art items Russian a foreman used, mainly, walrus, mammoth and an ivory, (though sometimes and bones other animal). Pristinely the bone is nonfattened and bleached; then her{it} saw on a tear-out or plates and define the form of a subject. From reasons of fastness of the future item a bone saw on plates along layers, instead of across: such saw cut does not allow a bone to cast at change of temperature or humidity.
For building from a bone of a volumetric thing the foreman produced on a lathe an original blank under the form and the dimensions suitable for the future item.
At manufacturing bone pods, caskets, small chests, furnitures for them did{made} a warp of a tree, and then outside pasted over with carved bone plates in technique of a relief or through groove. Under procarved plates of a foreman quite often enclosed{laid} a colour foil, a bright paper, silk, a velvet, that especially emphasized beauty of study of a surface of a bone plate and promoted building of the decorative effect when the colour substrate rejected colour reflexes on a bone surface.
Processing of a bone surface was conducted by various carvers, files, drills, archimedian drills and other special tools. Before to start a groove the artist did{made} on a bone or a bone plate outline figure of the future item or a pattern. Figure was put by a core or harrowed.
the Most simple for performance{fulfillment} there was a plain groove. On previously put figure the foreman by degrees deepened a background; the relief could be various height - from almost flat up to convex with supplemental plaques which fastened on bone thorns. This kind of a groove was applied at manufacturing every possible caskets and pods, and also bone icons and cups.
refractory on technique of performance{fulfillment} was a volumetric groove - work above three-dimensional figures applied{economic} and the decorative (a bone sculpture) purposes{assignments}. Such sculptures could be part of a subject composition, minister cuttings of knifes, stud covers of small chests, etc.
the Most multistoreyed on technique - the through groove named also « a groove on an aperture ». Such groove demands the large accuracy and experience: the slightest careless locomotion - and all multistoreyed tissue pattern on figure can be rotten. The groove on an aperture was studied by supplemental simulation of a surface. The beauty of a pattern was emphasized by utilization of a supplemental colour background. Such groove was awakely used for a decora of walls and covers of small chests, plates of fans, the decorative vases and medallions.  Except for a groove for building items from a bone the chase carving was used, is frequent - with an azuring (the paint densely entered into a deepened stroke, frameing contrast in relation to I blossom bones figure). For the greater decorative effect of items in XVIII-XIX eyelids separate bone plates were imbued by natural coloring matters - a saffron (yellow colour), leaves of a sorrel (from auburn up to black colour), a bark of an alder, berries of a bilberry (brown and grey colours), a madder or a ripe elder (red colour), etc. Especially liked to paint with bright paints of a plate of bone fans. For a mordant of a bone a paint created acid medium for what used a berrylike berry juice, vinegar, vodka or alum. In XIX eyelid for colour of a bone become to use aniline paints. In special events a bone gilded, and also decorated jewels.
Constructional details, such as metal clamps, nails, the overlapping decorative elements, strengthing bone a plate on a wooden warp, also turned foremen to supplemental decorative elements.
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