“... Whether her countenance, plastered and massaged with so many preparations, overlaid with poultices of boiled and moistened flour, should be called a face at all,—or a sore.... At last she peels her face, removes the outermost layers. For the first time she may be recognized for herself. Then she treats her skin with asses’ milk, for which she drags about in her train a herd of asses,—and would take them with her, if she were exiled to the North Pole.”
For painting the face it seems that a coating of chalk was used, as in the case of the Pederast mentioned in Petronius, who perspired so violently in working vainly the groin of Eucolpus:
“From his perspiring forehead flowed rivulets of acacia juice, and in the wrinkles of his cheeks there was such a mass of chalk that you might have believed you saw a wall exposed to the wind and washed by the rain” (Satyricon, ch. 23).
But let us leave all these nasty preparations, before we find ourselves stuck fast in them.
We have said that another branch of this business, on the part of the patient, consists in cevere. A patient cevet, who during the action wriggles and moves his haunches up and down, so as to enjoy more pleasure himself and give more pleasure to the pedicon. Women, doing the same in copulation, are said to crissare. Martial, III., 95:
“Nay! you pedicate finely, Naevolus; you ply your haunches right well.”
Juvenal, II., 20-23:
“... Virtue on their lips, they ply their buttocks.—‘Shall I honour you, in the act of your back-play, Sextus?’ says the infamous Varillus....”
The same author, IX., 40:
“With calculated art moves his haunches.”