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- Economy Watch
<u>Brainliest Please!!</u>
The Revenue Act of 1767, also referred to as the Townshend Duties, taxed glass, lead, paint, paper, and tea coming into the Anglo-American colonies. That year, wealthy landowners in Britain had used their political influence to cut their taxes by a fourth, causing a massive deficit in the British treasury. Chancellor Charles Townshend made up for this deficit via the Revenue Act.
In reality, the duties brought in very little revenue, with the exception of the taxes on tea. All they really did was provoke the colonists. Assemblies all over the colonies denounced the Act, calling for its repeal. Yet another boycott of British goods was enacted, which motivated merchants in Britain to push for the repeal of the Act as well. All this tension led to violence in the colonies, culminating in the Boston Massacre in March 1770. Parliament relented and repealed most of the Townshend Duties.
B.)The power to veto proposed federal legislation
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Most of the academic work on the Mexican Revolution (1910-1920) has focused on sociopolitical and military affairs; few scholars have considered the economic aspects of the period. Even though business historians know now that the Revolution did not bring generalized chaos or total destruction of manufacturing, we still need more research on economic issues. This article analyzes the evolution of the businesses of the Braniff family, as well as their involvement in politics once the regime of Porfirio Díaz collapsed. It examines the Braniffs' political ideas, their strategies to gain power, and their support of the political faction favorable to their interests. The article exposes the tactics the family used to guarantee the safety of their businesses, the losses they suffered, and the new ventures they made after the Revolution.
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On God's command, Abraham agrees to sacrifice his son Isaac. As Abraham raises the knife, an angel appears out of nowhere to halt the sacrifice. The complex expressions of father and son in this work combine grief, strength, resignation, fear, and realization in their faces and bodies, which are inspired by ancient sculpture and Michelangelo. Andrea del Sarto never completed this painting, which reveals his working methods. He transferred the design from a drawing to the panel, reinforcing the chalk with painted lines—most notably in the donkey on the far right. He then worked over the entire panel at once with thin, brushy veils of color, allowing him to change the composition as he painted—particularly in the angel, Isaac's body, and Abraham's head.
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