(Pietro), an eminent painter, was born at Florence in 1646, and received his first instruction in the art of painting from Valerio Spada, who excelled in small drawings with a pen. Whilst he was under the care of that artist, he gave such evident proofs of a ready genius, that he was then placed as a disciple with his uncle Vincenzo Dandini, a master of great reputation through all Italy, who had been bred up under Pietro da Cortona. He afterwards travelled through most of the cities of Italy, studying the works of those who were most distinguished; and resided for a long time at Venice, where he copied the paintings of Titian, Tintoretto, and Paolo Veronese. He last visited Parma and Modena, to design the works of Correggio; omitting no opportunity that might contribute to improve his hand or his judgment. When he returned to Florence, the grand duke Cosmo III, the grand duchess Victoria, and the prince Ferdinand, kept him perpetually employed, in fresco painting as well as in oil; his subjects being taken not only from sacred or fabulous history, but from his own invention and fancy, which frequently furnished him with such as were odd and singular, and especially with whimsical caricatures. He died in 1712.—This master had a most extraordinary talent for imitating the style of even the most celebrated ancient painters of every school, particularly Titian, Veronese, and Tintoretto; and with a force and elegance, equal to his subjects of history, he painted portraits, landscapes, architecture, flowers, fruit, battles, animals of all kinds, and likewise seapieces; proving himself an universal artist, and excellent in every thing he undertook.
He had a son, Octavio, who proved not inferior to him in any branch of his profession, and was an honour to his family and his country.
(Cesare), history painter, was born at Florence, Florence; and was the elder brother and first instructor of Vincentio Dandini the uncle of Pietro. This master had successively studied as a disciple with Cavalier Curradi, Paffignano, and Chilfotafano Allori; from whom he acquired a very pleasing manner of designing and colouring. He was extremely correct in his drawing, and finished his pictures highly. Several noble altar-pieces in the churches of Florence are of his hand; and one, which is in the chapel l'Annonciata, is particularly admired.
DANEGELT, an annual tax laid on the Anglo-Saxons, first of 1s. afterwards 2s. for every hide of land thro' the realm, for maintaining such a number of forces as were thought sufficient to clear the British seas of Danish pirates, which heretofore greatly annoyed our coasts.
Danegelt was first imposed as a standing yearly tax on the whole nation, under king Ethelred, A.D. 991. That prince, says Cambden, Britan. 142, much distressed by the continual invasions of the Danes, to procure a peace, was compelled to charge his people with heavy taxes, called danegelt.—At first he paid 10,000l. then 16,000l. then 24,000l. after that 36,000l. and lastly 48,000l.
Edward the Confessor remitted this tax: William I. and II. reassumed it occasionally. In the reign of Henry I. it was accounted among the king's standing revenues; but king Stephen, on his coronation-day, abrogated it for ever.
No church or church-land paid a penny to the danegelt; because, as is set forth in an ancient Saxon law, the people of England placed more confidence in the prayers of the church than in any military defence they could make.