Historians and critics assume that the topic of ‘Britain’ and Camden’s Britannia only became political in 1603. But Camden’s Britannia (1586) was political in its very conception. Camden deliberately set out to undermine George Buchanan’s innovative 1582 account of Britain’s three ancient, Gaulish-speaking indigenous races (Britons, Picts and Scots). Camden wants only one indigenous race: Britons. So he conflates Picts and Britons as ‘painted people’, excluding Scots. Ben Jonson, Camden’s pupil, transformed this identification of British indigeneity with painted skin in the The Masque of Blackness, where Britannia becomes an island ‘discovered’ by the daughters of Niger as they seek to become ‘fair’. Inverting the poetry of Claudian, for whom sunburnt Africans and painted Britons mark the extremes of a vast Roman empire, Jonson sets Britannia at the centre of a new sea-empire, integrating the races of Britain by producing them as unpainted and therefore ‘white’. As unpainted indigenous whiteness replaces Camden’s painted indigeneity, what is left is ‘blackness’, the unwashable hue of the peoples beyond the British seas.