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BOUDICA
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Boudica
Iron Age Warrior Queen
Richard Hingley and Christina Unwin
hambledon
continuum
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Hambledon Continuum
The Tower Building
11 York Road
London, SE1 7NX
80 Maiden Lane
Suite 704
New York, NY 10038
First Published 2005 in hardback
This edition published 2006
ISBN 1 85285 438 3 (hardback)
ISBN 1 85285 516 9 (paperback)
Copyright © Richard Hingley and Christina Unwin, 2005
The moral rights of the author have been asserted.
All rights reserved.
Without limiting the rights under copyrights
reserved above, no part of this publication may be
reproduced, stored or introduced into a retrieval system,
or transmitted, in any form or by any means (electronic, mechanical,
photocopying, recording or otherwise), without the prior
written permission of both the copyright owner and
the above publisher of the book.
A description of this book is available from the
British Library and from the Library of Congress.
Typeset by Carnegie Publishing, Lancaster,
and printed in Great Britain by MPG Books, Cornwall.
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Contents
Illustrations vii
Acknowledgements xi
Introduction xiii
P A R T O N E :B O U D I C A
1 Iron Age and Roman Britain 3
2 The Classical Sources 41
3 The Archaeological Evidence 63
PART TWO! BOADICEA
4 Finding Boadicea 111
5 Subordination 129
6 Imperial Icon 147
7 In the Modern World 173
8 A Woman of Many Faces 205
Notes 223
References 251
Index 267
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Illustrations
Plates
Between pages 142 and 143
1 Bunduca, from Heywood's Exemplary Lives of 1640
2 Boadicia, by William Fairthorne, from Aylett Sammes's
Britannia Antiqua Illustrata of 1676
3 'Mrs Powell as Boadicea' in Richard Glover's play of 1753
4 'Boadicea in her Chariot'. The frontispiece to volume i
of Tobias Smollett's A Complete History of England of 1758,
by Charles Grignon, after Francis Hayman
5 'Will you follow me, men?' Illustration of Boadicea by
A. S. Frost. From Our Island Story by H. E. Marshall (1905)
6 Miss Elizabeth Kirby as Boadicea in a 1909 production
of Cicely Hamilton's A Pageant of Great Women
7 An image of Boadicea in stained glass, from a window in
Colchester Town Hall, dating to around 1901-2
8 Thomas Thornycroft's statue Boadicea and her Daughters,
erected in 1902
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VIII BOUDICA
Text Illustrations
1 A map of the Roman Empire in AD 60, showing places
outside Britain connected with the story of Boudica xii
2 A map of Britain, showing places connected with the story
of Boudica xv
3 An Iron Age roundhouse from West Stow in Suffolk, with
a cut-away section to show the construction and interior 5
4 The Iron Age hillfort at Maiden Castle in Dorset 6
5 Roman imperial expansion 9
6 Late Iron Age coinages 10
7 The Iron Age tribes of Britain 13
8 Late Iron Age Camulodunon 14
9 Early Roman Camulodunum 20
10 The fortress at Camulodunum 21
11 Early Roman Britain and the rulers friendly to the Romans 22
12 A selection of coins of the Iceni 28
13 Distribution of the coins of the Iceni 29
14 The Iron Age settlement at Harford Farm,
Caistor St Edmund 30
15 The Iron Age fort at Stonea Camp in Cambridgeshire 32
16 Possible tribal centres among the Iceni 34
17 The late Iron Age site of Fison Way, Thetford, in Norfolk 35
18 Three silver coins struck for 'Esuprastus'. 36
19 The tombstone of Longinus Sdapeze 65
20 Samian pottery from the destruction layer at Colchester 68
21 The Roman colony at Colchester 72
22 The remains of a building in Colchester destroyed by fire in
AD 60 or 61 75
23 Charred dates from the destruction layer of AD 60 or 61 in
Colchester 78
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ILLUSTRATIONS IX
24 The tombstone of Marcus Favonius Facilis from Colchester 79
25 The head of a life-size bronze statue of the Emperor
Claudius, found in the River Aide 81
26 The enclosure at Ashill in Norfolk 82
27 Early Roman London 84
28 A reconstruction of early Roman occupation at i Poultry,
London 87
29 Late Iron Age Verlamion and early Roman Verulamium 92
30 Verulamium around AD 60 to 61 93
31 The workshops in Verulamium, Insula XIV 94
32 Gorhambury around AD 60 to 61 97
33 Iron Age hoards in Norfolk and northern Suffolk 99
34 A reconstruction of the tomb of Gaius Julius Classicianus,
found in London 106
35 A woodcut from Raphael Holinshed's The Chronicles of
England, Scotland and Ireland of 1586, showing Voadicea
making her speech to the Britons 121
36 Woodcut print of an ancient Briton from John Speed's
The History of Great Britaine of 1611 126
37 Woodcut print of Boadicea from the 1632 edition of John
Speed's The History of Great Britaine of 1611 127
38 The British Empire in 1815 149
39 'An Antient Briton' and 'Queen Boadicea' 155
40 'Boadicea shows the marks of the Roman rods' 161
41 George Gale's cartoon of Margaret Thatcher as Boadicea,
from The Daily Telegraph of 11 June, 1987 189
42 A balanced view of Boudicca 192
43 The label design for 'Boadicea Chariot Ale' 202
44 Reconstruction drawing of Boudica in a chariot with war
trappings 219
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Acknowledgements
We very are grateful to the following individuals for their comments and
kind assistance in the preparation of this book.
Professor Colin Haselgrove of the University of Durham and Dr
J. D. Hill of the British Museum for comments on the Iron Age sections
of the book; Dr Philip de Jersey of the Celtic Coin Index, Institute of
Archaeology, University of Oxford for information and advice about the
coins of the Iceni; Dr John Davies, Chief Curator at Norfolk Museums
for assistance regarding Iron Age Norfolk and the Norwich Boudica
Gallery; Trevor Ashwin of Norfolk Archaeology and Environment for
advice on Iron Age Norfolk; Dr Rosalind Niblett of St Albans City
Council for information about Verulamium; Philip Crummy of the
Colchester Archaeological Trust for the considerable assistance that he
provided with information about Iron Age and Roman Colchester and
his careful comments on the text; Dr Paul Sealey of Colchester Muse-
ums for advice about Roman Colchester and other issues related to the
events of AD 60 to 61; Francis Grew of the Museum of London for advice
on Roman London and the Museum of London Boudica display;
Professor Edith Hall of Durham University for media extracts about
Boudica and several lively discussion of the subject; Theresa Calver
for information on the stained glass window from Colchester Town
Hall; Dr Roger Tomlin and R. D. Grasby for advice on the redrawing of
Julius Classicanus's tomb; Alex Thorne, Iceni Brewery, Terry Deary and
Martin Brown for help with the illustrations; Dr Valentina Vulpe
and Dr Robin Skeates for translating Ubaldini's medieval Italian; Dr
Ardle MacMahon for advice on published sources; Ruth Hingley for her
comments on the text; University of Durham Library and the Sackler
Library, Oxford for access to books and Professor Barry Cunliffe of the
University of Oxford Institute of Archaeology and Professor Peter Wells
of the University of Minnesota for the original idea for this book.
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XII BOUDICA
Special thanks are due to our editors, Martin Sheppard and Tony
Morris, for their interest in the topic and meticulous attention to the
editing and production of this book.
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To the memory of Peter and Jean Unwin
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i. A map of the Roman Empire in AD 60, showing places outside Britain
connected with the story of Boudica.
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Introduction
Just about everyone who learns the history of England is taught a ver-
sion of the story of Boudica. She is one of those rare individuals from
the past who have become folk heroes and play an important role in
many of the popular accounts of the history of England and of Britain.l
In this select group are a variety of historical and legendary characters
including Julius Caesar, King Arthur, Alfred the Great, Robin Hood and
Winston Churchill. Boudica has long been popular in Britain and
appears regularly in school history books and televisual accounts of the
British past. She is familiar to us, yet at the same time a shadowy figure.
Although she lived in the ancient past and is recorded by our history,
we really know very little about her, despite the fact that she has been
studied for almost five centuries. Boudica's story is sufficiently dramatic
that it has excited, enthused and, sometimes, revolted generations of
people.
Information about her is to be found in books and articles, popular
television dramas, plays, galleries in museums, festivals and novels
together with many webpages on the internet — a web-search in June
2004 located an astonishing 89,400 web pages with references to
'Boadicea' or 'Boudica'. In the past, Boudica was the subject of an
equally wide variety of representations, including works of art (paint-
ings, engravings and sculptures), poems, books, political works and
plays. All these draw in some way upon the historical and archaeologi-
cal knowledge that we possess, yet they represent her in widely differing
ways.
In brief, Boudica was a woman who appears to have been the wife of
the king (or leader) of one of the British tribes (or peoples), the Iceni.
She led a rebellion against the Roman government seventeen years after
the initial invasion of Britain by the Romans. We know that she lived
through the first sixteen years of the Roman occupation of Britain and
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XVI BOUDICA
that she died resisting Roman rule, with the aid of her own tribe and
others, probably in AD 60 to 61. Boudica did this through direct action
that led to the destruction of several towns and thousands of deaths. She
was eventually defeated by the Roman army and died, either from ill
health or by suicide. She is one of a number of native leaders who,
according to Roman literary sources, led opposition, revolts or rebel-
lions against Roman rule in the early years of the empire.2 These
included Viriatus in Iberia,3 Vercingetorix in Gaul,4 Civilis and
Arminius (Herman) in Germany,5 and Caratacus in Britain.6
Boudica's life as a member of the aristocracy of an Iron Age tribe
when Rome dominated Britain during the first century AD, the infor-
mation for the rebellion that she led against Rome and a review of her
story through to the internet age are all included. We shall explore the
knowledge that we have for Boudica, derived from the classical writers
who wrote about her. The detail provided by the two classical authors
does not mean, however, that we actually know very much about her.
The Roman accounts were written by wealthy and powerful men who
lived at the Mediterranean core of the Roman Empire and who had cer-
tainly never met her nor even visited Britain. They also wrote some time
after the end of the events that they described. For these two writers, the
tale of Boudica was useful because it provided a moral story for their
intended audiences in Rome and the Mediterranean. The only other
source that we have for her is the archaeological material that has been
collected during the past few hundred years which serves to support
some of the classical writing.
All knowledge of Boudica seems to have been lost during the decline
and fall of Roman power over Britain during the late fourth to sixth cen-
turies and the next surviving written references to her do not appear
until the early sixteenth century. With the rediscovery of the classical
sources during the Renaissance, the views that were expressed by the
classical authors appealed to the later writers who took up her story.
Writers and artists, with different aims and ambitions, made moral
observations about their own societies by developing the story of
Boudica. From the sixteenth century onwards writers and artists por-
trayed Boadicea in a wide variety of ways. She became a popular figure
in history books and plays.
Boudica has been given a variety of other names over the past few
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2. A map of Britain, showing places connected with the story of Boudica.
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XVIII BOUDICA
hundred years, in particular 'Boudicca' and 'Boadicea', but Boudica
appears to be the correct form of the spelling of her name. Research on
Celtic languages in Europe has indicated that Boudica's name means
Victory'. Boadicea remains, however, a better-known version of her
name. The first part of the book, 'Boudica', explores the evidence for the
'real' character; while the second part, 'Boadicea', reviews the stories
woven around her from the sixteenth century to the twenty-first.7 Peo-
ple interpreted her in the context of their own times and explored their
concerns and interests through the example she provided.
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PART ONE
Boudica