At si qui subtilior fuerit et voluerit expolitionem miniaciam suum colorem retinere, cum paries expolitus et aridus est, ceram punicam igni lique-factam paulo oleo temperatam saeta inducat; deinde postea carbonibus in ferreo vase compositis eam ceram a primo cum pariete calfaciundo sudare cogat fiatque, ut peraequetur; deinde tunc candela linteisque puris subigat, uti signa marmorea nuda curantur (haec autem ganosis graece dicitur): ita obstans cerae punicae lorica non patitur nec lunae splendorem nec solis radios lambendo eripere his politionibus colorem.
But if anyone proceeds in a less crude fashion, and wishes a vermilion surface to keep its colour after the finishing of the wall is dry, let him apply with a strong brush Punic wax melted in the fire and mixed with a little oil. Then putting charcoal in an iron vessel, and heating the wall with it, let the wax first be brought to melt, and let it be smoothed over, then let it be worked over with waxed cord and clean linen cloths, in the same way as naked marble statues; this process is called gansis in Greek. . Thus a protective coat of Punic wax does not allow the brilliance of the moon or the rays of the sun to remove the colour from these finished surfaces by playing on them.
final_alignments\Vitruvius_Architecture_Book_7.json