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Depiction during the 18th and 19th centuries

During the late 18th century, Boudica was used to develop ideas of English nationhood. Illustrations of Boudica during this period—such as in Edward Barnard's New, Complete and Authentic History of England (1790) and the drawing by Thomas Stothard of the queen as a classical heroine—lacked historical accuracy. The illustration of Boudica by Robert Havell in Charles Hamilton Smith 's The Costume of the Original Inhabitants of the British Islands from the Earliest Periods to the Sixth Century (1815) was an early attempt to depict her in an historically accurate way.

Cowper's 1782 poem Boadicea: An Ode was the most notable literary work to champion the resistance of the Britons, and helped to project British ideas of imperial expansion. It caused Boudica to become a British cultural icon and be perceived as a national heroine. Alfred, Lord Tennyson 's poem Boädicéa (written in 1859, and published in 1864) drew on Cowper's poem. Depicting the Iceni queen as a violent and bloodthirsty warrior, the poem also forecasted the rise of British imperialism. Tennyson's image of Boudica was taken from the engraving produced in 1812 by Stothard. Another work, the poem "Boadicea" (1859) by Francis Barker, contained strongly patriotic and Christian themes.

A range of Victorian children's books mentioned Boudica; Beric the Briton (1893), a novel by G. A. Henty, with illustrations by William Parkinson, had a text based on the accounts of Tacitus and Dio.

Boadicea and Her Daughters, a statue of the queen in her war chariot, complete with anachronistic scythes on the wheel axles, was executed by the sculptor Thomas Thornycroft. He was encouraged by Prince Albert, who lent his horses for use as models. The statue, Thornycroft's most ambitious work, was produced between 1856 and 1871, cast in 1896, and positioned on the Victoria Embankment next to Westminster Bridge in 1902.