Blood Pressure Lab Report Example | Topics and Well Written Essays - 1500 words

Blood Pressure - Lab Report Example As the muscles are less stretched the force of contraction decreases which reduces the stroke volume. Decreased stroke volume results in decreased cardiac output and hence reduces blood pressure initially. This is also called orthostatic hypotension (reduced blood supply to brain due to reduced cardiac output causing fainting). However after sometimes, baroreceptor respond to this decreased blood volume and stimulates the cardio-accelerator center in Rostral Ventrolateral Medulla which cause noradrenergic discharge. Nor adrenaline then acts on Beta-2 adrenergic receptors on myocardium to increase the heart rate and force of contraction to increase the blood pressure to normal and thus maintaining homeostasis (Williams et al, 2004). Q2. Analyzing the blood pressure it becomes evident that although there was a drop in mean systolic blood pressure (114mm Hg sitting versus 111 mm Hg standing, but it was not statistically significant as p value was > 0.05), even mean diastolic blood pressure decreased (76.3 mm Hg sitting versus 73 mm Hg standing but again it was not statistically significant as p value was > 0.05). However the mean pulse pressure ( difference between systolic and diastolic) increased(84.6 mm Hg sitting versus 87 mm Hg, but this was also not statistically significant as p value was > 0.05). This means that out of 100 observations more than 5 observations has happened due to chance factors of random sampling and change in posture has not statistically altered their blood pressure. Though statistically insignificant it is clearly seen that clinically or physiologically there is reduction of blood pressure from sitting and standing postures as discussed in question 1. The increased pulse pressure was d ue to the fact to compensate the reduction in cardiac output and increase the peripheral circulation (Williams et al, 2004) (Blair et al, 1980). t tests are conducted to test the significance of difference between

Social injustice Essay Example for Free

Social injustice Essay We’ve all applied to a job and didn’t get it. Did you ever think to yourself it was some type of discrimination? Social and racial discriminations happen all the time in the workplace. You may be turned down from a job because of your race, social status, or even your gender. Many times in the workplace people are deemed unfit for the position, but why? Why should it matter if you’re a female or male for certain jobs positions? Who says a male cant preform the job to potential as a female or visa versa? If you walk into a Claire’s, per say, it will be all women working there and I’m sure when males walk in they feel discriminated to ask for an application because all they see is females working in there; It’s a double standard contraception. However, it’s how society implies how or what kind of roles the male or female should contribute to the work environment. I for one have thought of applying for a certain job that society would not †expect† a young man to partake in, so sadly knowing I would have fulfilled the job exceptionally suitable did not take it because I cared about what other people thought of. Race is one of the biggest struggles for many perfectly applicable people who would fulfill the desired job they want to apply for. One of the most sensitive subjects that have been around for decades would be peoples race. I have two close friends, whom are extremely hard working, book smart, and have great social skills who applied for a high end job down south after college. They were turned down =, and for what? What color they were? This is one of the biggest disappointments our society still has to deal with to this day. Perfectly adequate young men or women could perform any job they believe and work hard for and they should NEVER be turned down for their race. Because who would know if that certain raced man or woman would have executed that job better than lets say the white raced man or woman? The way people look is another example of a high social injustice situation. The â€Å" benefit of the doubt† is the proper mindset of what every interviewer should have. Say a man comes into an interview with tattoos and wearing jeans and a dirty button up, yes, they look like they don’t care but that’s all they can afford to look like until they are hired and get a job. Vs. a man who comes in tight suit, brief case and put together. The man with the tattoos is a hard workingman and has all the exceptional social skills they need to fulfill the job, and the man in the suit is only book smart and has no patience to work with people. The interviewer picks the man with the suit because he looks more †suitable† for the job. That is not acceptable. The other man would no doubt work extremely hard to make sure he executed his job to the highest standards. But what our society and the work place wants is who will be the fresh face that is the face for the company. The â€Å"benefit of the doubt† is dying in these kinds of situations because our society these days expects a certain kind of person to be dealing with customers and when doing so, look a †certain† way. I’m sorry but our society these days, is just not right. And we all need to start giving the benefit of the doubt and know what the real â€Å"face of the company is†. All these examples of Social Injustice are what real people are living through/with every day of their lives and its man vs. society when they deal with these situations. It’s just not right that there are people out there who think its acceptable to turn down adequate males or females who could perform a job better than people they hire whom they think they can. And if there is a day that it happens to myself I will stick up for myself and prove that person wrong because all the people who have been turned down know what they are capable of and its not fair they don’t get the chance to show what they can do.

Same Sex Marriage Controversy in the United States Essays -- gay marri

In a very real sense, it is reasonable to argue that the government should have no say at all in the processes of marriage, or decide which adults may or may not legally marry. State and federal governments play a role, of course, in that marriage is a civil union, and provides benefits and legal protections for the couple. Historically, marriage serves the interests of the society by promoting stability and future generations of citizens, and governments usually act in ways to promote this very vital element. At the same time, it is highly questionable whether this governmental authority should have any voice in who chooses to marry, provided those involved are adults and wish to do so. This is in fact, at the heart of the same-sex marriage controversy still gripping the United States. Gay men and women, eager to gain the legal benefits and cultural recognition of legal marriage, demand it as a right, while others assert that marriage itself is defined as a union between only a man and a woman. Meanwhile, states today vary and alter individual state laws, as further debate rages over whether legally permitting same-sex marriage is a federal or state prerogative. As the following will examine and support, same-sex marriage should be at best only a state concern, and the federal government should play no part beyond upholding states’ rights in the matter. This is essentially because governmental jurisdiction over the right to marry should be at a minimum, given the right to marry as not defined by gender within the Constitution or any other foundational law. Moreover, as states increasingly legalize same-sex marriage, a process occurs that is purely democratic in principle; the people are by degrees influencing the nation as ... ...of Chicago Press, 2013. Print. Meezan, W., & Rauch, J. â€Å"Gay Marriage, Same-Sex Parenting, and America's Children." The Future of Children 15.2 (2005): 97-113. Print. Mello, M. Legalizing Gay Marriage: Vermont and The National Debate. Philadelphia: Temple University Press, 2008. Print. Murray, M. â€Å"Marriage rights and parental rights: Parents, the state, and proposition 8.† Stan. JCR & CL 5 (2009): 357-407. Web. Rimmerman, C. A., & Wilcox, C. The Politics of Same-Sex Marriage. Chicago: University of Chicago Press, 2007. Print. Schram, S. After Welfare: The Culture of Postindustrial Social Policy. New York: NYU Press, 2000. Print. Strasser, M. P. On Same-sex Marriage, Civil Unions, and the Rule of Law: Constitutional Interpretation at the Crossroads. Westport: Greenwood Publishing, 2008. Print.

Personal Communication Ethic :: Ethics Communication Skills Speech Essays

Personal Communication Ethic I feel that that the best way to persuade people is with your ears — by listening to them. Feeling this way, I based my personal communication ethic on listening. If all you do is talk, then you probably don't have too many friends. I know that when I am interrupted in mid-sentence I feel like punching the other person. I feel as if the other person doesn't give a care in the world about what I think, and not only does that take away any respect I had for that person, but it hurts my feelings. Here, I have the TOP TEN WORST EXCUSES NOT TO LISTEN 10. It would blow my chances for America's Funniest Home Videos 9. I enjoy fighting over misunderstandings 8. My spouse will expect me to do it all the time 7. I like the challenge of doing a project for the boss when I don't have a clue what's wanted 6. Ignorance is bliss 5. Two words: Political speeches (I'm sorry, that's a good excuse) 4. It gives me a chance to use my creativity to fill in the blanks 3. I forget what I'm going to say if I listen 2. Congress doesn't why should I? 1. People might think I care â€Å"Listening to obtain sensory stimulation or enjoyment through the works or experiences of others,† can promote effective listening skills within the family unit. In this connection, through the use of storytelling, families can ultimately develop and refine listening skills and promote a rich sojourn of the past. This is one way you can practice listening is at home. I hope you have learned something through this speech and I hope you can use this ethic in your life. Thank you Part II #2 Your emotional and physiological state will influence the meaning you give to your perceptions. The sight of raw clams may be physically upsetting when you have a stomachache, but mouth watering when you're hungry. Also, perceiving only the positive in people that you like and only the negative in the people that you do not like is called bias. Be aware of perceptual evaluations influenced by your own biases. #3 Self-concept differs in different situations and at different times through many different ways. One way would be through others images of you.

History of Hong Kong Art Village

(Eng. Summary) andrew lam (The section â€Å"History of Oil Street Architecture† was published in Hong Kong Economic Journal 2000-03-27) The First Stage – â€Å"The Oil Street† Period During the 17 months from August 1998 to the end of 1999, the Government Property Agency rented an abandoned governmental building at Oil Street, North Point to architects, designers, photographers, individual artists and art groups at a rental rate as low as HK$ 2. 5 / square ft. It gradually served as the nurturing ground for art education, creative industries and various kinds of exhibitions and performances. 3 large-scale art and culture festivals have taken place in the Art Village. More than 100 exhibitions and performances, which attracted more than 30,000 audiences, have been held throughout the year. The nature of activities were diverse to include theatre work, dance, folk art, ink painting, calligraphy, installation, photography, sculpture, painting, multi-media, video ar t, digital art, architecture, fashion design, performance art and music concert.The Oil Street Art Village was a cultivated space, which fostered local economies, creative industries and international art and cultural exchange activities. It attracted creative and enthusiastic individuals to involve and to arouse the interest of local and overseas press. The total area of the Oil Street building was 125,000 square ft. The gross floor area was estimated to be 160,000 square ft. 33 art groups and workshops, and more than 100 artists were stationed in the Art Village; while more than 721 artists and 3,000 art group members involved in various activities (it is approximately 30% of HK art field).More than 60,000 square ft. area served as performing space, rehearsal room, working area, and storage. The abandoned property was positively activated. In that short period of time, the art and culture industry built up a good partnership with the SAR government: the Art Village was recognized and supported by HKADC. In 98-99, the Planning Department pointed out that Oil Street Art Village was a successful model for land use transferral. All of the above prove that HK citizens urgently need the full support of the government to assist running a non-governmental and independent art village.It serves as a window and an opportunity for local art and cultural workers to showcase the power of creative culture. This is the gateway to develop Hong Kong into the brand new â€Å"art and cultural centre† in Asia, and to raise the image of HK in the global level. In 2000, the SAR government planned to sell the land through auction. Various units in the Art Village moved out and the land has been abandoned until today. Not only was the Oil Street Art Village destroyed, but the SAR government also lost nearly HK$ 10,000,000 of rental income since 2000.The Second Stage – â€Å"Cheung Sha Wan Warehouse† & Old Kai Tak Aiport Period The ex-slaughterhouse in Cheung Sha Wan and the ex-Kai Tak Airport Office Tower was temporarily let to Oil Street Art Village by the Government Property Agency. However, the space provided was not suitable for artistic activities. Many workshops and art groups such as 1aspace, Videotage, On and On Theatre, Zuni Icosahedron/Z+ etc. retreated or their activities suspended. Such a â€Å"hybernated† situation lasted for at least 1 and a half years. During the period, some art studio was transferred to Old Kai TatAirport venue and the studio of Tsui Pui Wan had organized an installation, which attracted wide public participation. The Third Stage – To Kwa Wan â€Å"Cattle Depot Artist Village† (CDAV) Period In July 2001, the Government Property Agency rented a renovated government property, the ex-quarantine station for animals (63 Ma Tau Kok Road, To Kwa Wan) to individual art groups and artists. Most of the architecture in the station is heritage. Some are over 100 years old. Units and Cultural activ ities in CDAV The total area of CDAV is 7,394. 93 square metres.It has 19 stationed art groups: Zuni Icosehedron, Ngau Pang Shue Sue Yuen, Artist Commune 63 Museum, Videotage, 1aspace, Frog King Museum, (szOf)-Tsui Pui Wan, Wee Design, Photo China. CC, Cut_N_try Workshop, Billy & Suzies, Tim Tsz Workshop, Possive Null Workshop, Kum Chi Keung Workshop, Steve Cheung-Work Zone, 2/3 Studio, N4 and so forth. Main publications in these two years include: â€Å"E+E† by Ngau Pang Sue Yuen,†¦. and many exhibition catalogues. Significant exhibitions held included â€Å"Tree. Man†: Danny Yung Solo Exhibition Tree Man in 2003, CADV held large-scale art festival, such as Cattle Depot Summer Days & Nights Arts Festival 2003.The studio zero O fish organized Summer Workshop 02, etc. The Book Festival was co-organized by Zuni Ngau Pang Sue Yuen and 1aspace with participation of 22 cultural organizations. It attracted more than 20,000 local citizens and book lovers. The Artist Comm une has also organized many societal and cultural exchange programs. In the future, the CDAV will develop as a non-profit making charity (NGO). We are also planning to make the best use of spaces in the village as a platform for experimenting civil art education and creative cultural industries, and as a channel to consolidate different social sectors and governmental departments.The CDAV will be the new fountainhead of Hong Kong culture, and it will foreshadow and set an example to evaluate the idea of the operation of the proposed West Kowloon Cultural District. City globalization and synchronization bring about the building of skyscrapers, highways, airports, etc†¦ Organizing international biennial, triennial, exposition and other great cultural events become inevitable in internationalization. The CDAV has long been a localized phenomenon, we pose the questions of globalization versus regionalism. In reality, there are 4 alternative spaces and 15 independent studios in the CDAV.For the past 2 years, they actively organized a great many of individual programs. They also organized joint events like community workshops and territory-wide art festivals. This proposal will present open studio project to create A CONCEPTUAL ‘COMPUTER HUB’ WHICH RE-UNIFIES THE WHOLE CDAV AGAIN. [1] The Experiment The Hong Kong CDAV is not a conventional museum for cultural display. It is an alternative space: a 7,394 sq meters art village with visual art and theatre group, big companies and individual studios living in symbiosis.In reality there are dreams and conflicts, expectations and competitions. Urgency and stability are side by side. In meeting this global event, the proposed CDAV project will not be a fabrication of un-real situation. In preparing for the exhibition, no pre-fabricated unit or exhibition system will be re-assembled in another site for exhibition. The studios of the CDAV is like ‘A MICROSCOPE’. It helps the international audie nce TO UNCOVER A WORLD OF ADVENTURE, EXPERIMENTATION, DISCOVERY AND WONDERS in the CDAV. There is NO GLASS OR INSTRUMENT USED TO MAGNIFY OR DISTORT FACT AND REALITY.Every object has to be viewed in actual size! Like the Berlin Biennale 2004, The CDAV studios portray reality and the CDAV artists provide such a visual excursion with a LIFE MANUAL. They themselves are the best exhibition documents and interpreters. BEYOND THE FRAME WE PROVIDE A NEW SPACE WHICH EXTENDS THE CONVENTIONAL PHYSICAL & CONCEPTUAL BOUNDARY OF AN EXHIBITION WITHIN THE ALREADY-EXISTING AND DEFINED AREA OF STUDIOS IN THE CDAV. The artists working in the CDAV studios take the opportunity to develop creative dialogue and exchange with the international curators and artists.The CDTV project will be in an interesting dialogue by using site-specific studio works showing artistic development from initial stage to final production, from conceptual building to theory formulation, from pre-exhibition studio discourse to p ost-exhibition debate. (  ¦ ) 2000-03-27 2004-06 (1999? ) (2003-2006) (1999) 1999? 11? 9? , , , > 006 2> 007 3> 007 4> 015 5> 016 6> 021 : 023 025 046 : †¦ , , , , (3? ) (1? ) (6? ); (2? ) (1? ) 1? , , , , , ; , , ; , , , , , , 2 , , , , : , , , , , , , , , ; , , , , , 1990? , ( ), , , , , , , , , , [2] , , , , , , , 2. 75 15 , 12? 5 , 31? , 6 Kwok and Cho Z+? Workzone Raymond Lau? Wong Chi Fei? Lily & Workshop? Qwert & Parallax Workshop? Xtreme Creative? Michael Chan Architects? James Wong & Andrew Lam? Vivian Lam? Ashley Hempsall? Tom Tong? May + Ling?Rensis Ho? Bone Wong Tim? Billy and Suzie? Edge? 1a Ringo Tang? 31 721? , 3? , 100 , 30,000 , , , [3] , , , , , , , : 1. , ( : )? 2. 2a , , , ,? 2b , : , , , , , ( ) , , ( , 2,000? , ) : , , 180 , (? ) (? ) (? ) (? ) (? ) (? (? ) , , , , , , ; , , , , , ; , , , , , , , , , , , 1A , Z+ , , , , , , , , , (C? D? ), , , , , , (Machine Aesthetic) , , , , , ,? 1998? 8 16 2. 75? 1 , 16 , 12? 5 , 30? , 6 , , , , 2000 , , : , 12? 15 , , , , 1998 , , , , , 98 , , , 1893 12 , [4] , , Victoria Regata Club , , , , [5], (E. M. Hazeland) [6], 1908? 3? 21 (Sir Frederick Lugard) ; , , , (Club House), , , , , , ; , , , , , , , , ; , 19 (Arts & Crafts Movement) [7]; , (1905? ) (1913? ) (1915? ) , , , , [8]1965? , – 1992? 10? , 1999? 11 , , , 1939 1964 1939 , 1950 941 , , , : i) 1969 (DYN1XB1B), , 1969? ; ii) 1945-64? 1:2,400 (HKR. S. 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( ) ? 17. ( ) 18. ( ) 19. ( ) ? 20. ( ) , , , , : 1. 2. , 3. , , 4. , ;? ii , , , , , : 1. , 2. , 2a , , , : ,? 2b , 1) : , , , , , , ?P. S. 1. , ; [10] , , , / , , , , , 1. : 1a , ;? 1b , , , , , , , ,! :1) , , ; , , ;2) , , , , , , , , , ;3) , ;4) , , ;5) , , , 2. : , (? ) / : , / , , , : 7A ( ) Dr. Morhard, Juergen, Consul of German Consulate (Hong Kon g)? Dr. Sacker, director of Goethe-Institute(Hong Kong)? Oscar Ho, exhibition director of HK Arts Centre? Renee Chan, art and design programme designer, HKU-Space? Ben Sumner, senior lecturer of APA? Chartered Society of Designers?Caroloine Cheng, director of The Pottery Workshop? Lam Yuen Mei? Gary Mak Sing Hei, associate director of Broadway Cinematheque? Cheng Wai Lau, manager of Theatre Ensemble? Irene Ngan, Program Manager of Goethe-Institut? Ip Yuk Yiu, Lecturer of City University? Linda Lai, assistant professor of SCM, City University? Nancy Tong, assistant professor of City University? Cheung Kai Sun, art director of Zebra Consultant? Simon Queeans, publisher of BC Magazine? Leung Chi Fan, vice-president of Hong Kong Society For Education In Art? Hung Chin Lu, director of Studio 22 Ltd.? Leong Ka Tai, director of Camera 22 Ltd.?Golden Cheetah Company? Wong Leung Sek Rupert, chairman of Hue Art Association? Shum Ka Chun, art dirctor of ICON? Wong Chack Kie, Associate Professo r of the Chinese University of Hong Kong? Li Chak Man, project manager of Yew Chung Education Foundation? Siu King Chung, assistant professor of HK Polytechnic University? Tang Shu Wing, artistic director of No Man Land Limited? Tsang Wai Yi Catherine Lau Lui Wai Kei Lam Wai Kit? Lau Chung Hang? Kelvin Tsang? Louisanna Chan? Steve Choi? William Thomas Dixon? Pegsi K C Wong? Betty Hung? Yik Fei? Natashia Ting Clorie Ng? Fanny Lam? Lau Mei Yee? May Fung? Yanpi Kwan Pui Yan?Wong Shun Kit? Hilary Binks John Thompson Chan Chui Hing, Nose? Mo-yung Yuk Lin Helen Leung Jenny Lam Chi Ling? Lichtenstein, Frederic? Vivian Chan Sau Han? Lee Kit Wai John Yip? Chan Tze Ming Liu Yuen Hung Jacqueline? Sandra L. Walters? Winton non Marsalis? Clarence Tsui Borezee? Blaise Lam Kam Ying? Wong Fung Ming? Tam Shiu Wah Hillman? Norris Ng? Lesley Chan Yan Yan,? Woo Vivian Cheng? Wai Kwan? Alice Chu? Cherie, Cheng Shui Che? Chan Wai Fun Dovas? Lau Wing Yin, Nataue? Kum Chi Keung? Tina Chan? Charles Lam? Mar ia Leung? Wei Peh Ti? Wong Hao An Alanie? Wong Gi Wai, Gigi? Winnie Lau? Paul Kember? Julita Lui Y. E.?Juliana Wong? Peter K. Ho? Jan Chu? Pamela Hoy So Ching? Quentin Fong Bryan Lay? Liu Ying Kei Carol? Robert Orien? Freddie Chan? Rachel Lee? Fornia Chan Siu Yim? Beryl Yau? Mimi Tung? Frank Yeung? Kearen Pang Yuri? Ng Lilian Chan : The Australian Network For Art and Technology? Artspace Visual Arts Centre, Sydney? Chinese Art News Magazine? Marina Grzinic, Fund For Video Art? Griffith Artworks, Griffith University, Australia? Videobrasil Festival, Brazil? Mike Stubbs, director of Hull Time Based Art, UK? Mike Leggett, Australia? Chang Young-Hae, Seoul?Wolf Kahlen, Germany? Evangelo Costadimas? Uwe Buchler, Werleitz? Gesellschaft, Germany? Steve Hawley, UK? Trevor Batten, Amsterdam? Veronica Needa? core member of Yellow Earth Theatre(London),†¦ : ( ) 1. 1. 1. , , , , , , , , , , , 2. 118? , 27 , ,? 27? , 10 ; (9? ) (8? ) (? 7? ), (6? ) (? 5? ) (4? ) 3 , 2 27 , 10? , 4? , , , , , (3? ) (1? ) (6? ); (2? ) (1? ) 1? , , , 2002 1 , [11] 3. , : ,†¦ , , [12] , , :?†¦Ã¢â‚¬ ¦ ( ) , – [13] 4. , , , , , , , ,†¦ 5. , : ; , ; , , , , , [14] 2. 1. 2. 1. 1 : (Alliance of Artists' Communities AAC) (Artists Communities: A Directory of Residencies in the United States Offering Time and Space for Creativity) , 70 2. : , , , , 50% , , , , 4%? , : . (American Academy in Rome)[15] . (The Corporation of Yaddo)[16] . (The MacDowell Colony, Inc. )[17] 70 80 , 80 ; , , ( ) , , , , , , , , , , , , , , 3. : , (Artist’s House) , , , (Kunsterhaus)[18]? [19], : A: 20 B: 10-19? C: 4-9? D: 1-3? , 70 , 4-9 C ,? 40% A B D , 20%? , , , : , , , , , A? , , C 4. : , 20A , , 2? , B , 14? B , , 2 , 4-9 C , , , C , , , D , 14? , , , C , : , , , , , , , , , , 5. : , , [20] | | | | | | | | | | | | | | | | | | | | | | | | | | | | |A |12 |86% |0 |0 |1 |7% |0 |0 |1 |7% |0 |0 | |B |10 |72% |2 |14% |1 |7% |0 |0 |1 |7% |0 |0 | |C |18 |64% |2 |7% |3 |11% |2 |7% |1 |4% |2 |7% | |D |8 |58% |2 |14% |0 |0 |2 |14% |2 |14% |0 |0 | | |48 |69% |6 |9% |5 |7% |4 |5% |5 |7% |2 |7% | |? (1): , (69%) (9%) (7%) (7%) (5%) , 7% , (? A? D :86%? 72%? 4%? 58%) , , , , , , 2. 1. 6 : , ,? 72% 24%, , 4% , P. S. 1 I. S. P , , , , , , , , P. S. 1 , , :†¦Ã¢â‚¬ ¦ , , , : , , , , [21] , , , , , , , (Conservatoire du Littorale), , , , , , , [22] , , , ; , , , , , , 7. : 1. : , , , , , : 2. 2. (i) 1) : , , ; , , 80%? (2) : , , ,†¦Ã¢â‚¬ ¦? , 80% , , , , , , 2. 2. (ii) (1) : 93% – , , ? (2) : , , , , : , , 71%? (3) : , , 39%? 2. 2. (iii) (1) : 29%? 2) : 26%? (3) : 23%? 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Solid Geometry on SAT Math The Complete Guide

Solid Geometry on SAT Math The Complete Guide SAT / ACT Prep Online Guides and Tips Geometry is the branch of mathematics that deals with points, lines, shapes, and angles. SAT geometry questions will test your knowledge of the shapes, sizes, and volumes of different figures, as well as their positions in space. 25-30% of SAT Math problemswill involve geometry, depending on the particular test. Because geometry as a wholecovers so many different mathematical concepts, there are several different subsections of geometry (including planar, solid, and coordinate). We will cover each branch of geometryin separate guides, complete with a step-by-step approach to questions and sample problems. This articlewill be your comprehensive guide to solid geometry on the SAT. We’ll take you through the meaning of solid geometry, the formulas and understandings you’ll need to know, and how to tackle some of the most difficult solid geometry problems involving cubes, spheres, and cylinders on the SAT. Before you continue, keep in mind that there will usually only be 1-2 solid geometry questions on any given SAT, so you should prioritize studying planar (flat) geometry and coordinate geometry first. Save learning this guide for last in terms of your SAT math prep. Before you descend into the realm of solid geometry, make sure you are well versed in plane geometry and coordinate geometry! What is Solid Geometry? Solid geometry is the name for geometry performed in three dimensions. It means that another dimension- volume- is added to planar (flat) geometry, which only uses height and length. Instead of flat shapes like circles, squares, and triangles, solid geometry deals with spheres, cubes, and pyramids (along with any other three dimensional shapes).And instead of using perimeter and area to measure flat shapes, solid geometry uses surface area and volume to measure its three dimensional shapes. A circleis a flat object. This is plane geometry. A sphere is a three-dimensional object. This is solid geometry. On the SAT, most of the solid geometry problems are located at the end of each section. This means solid geometry problemsare considered some of the more challenging questions (or ones that will take the longest amount of time, as they often need to be completed in multiple pieces).Use this knowledgeto direct your study-focus to the most productive avenues. If you are getting several questions wrong in the beginning and middle sections of each math section, it might be more productive for you to take the time to first refresh your overall understanding of the math concepts covered by the SAT. You can alsocheck out how to improve your math scoreor refresh your understanding of all the formulas you’ll need. Note: most of the solid geometry SAT Math formulas are given to you on the test, either in the formulas box or on the question itself. If you are unsure which formulas are given or not given in the math section, refresh your formulas knowledge. This is the formula box you'll be given on all SAT math sections. You are given the formulas for both the volume of a rectangular solid and the volume of a cylinder. Other formulas will often be given to you in the question itself. But whilemany of the formulas are given, it is still important for you to understand how they work and why. So don’t worry too much about memorizing them, but do pay attention to them in order to deepen your understanding of the principles behind solid geometry on the SAT. In this guide, I’ve divided the approach to SAT solid geometry into three categories: #1: Typical SAT solid geometry questions #2: Types of geometric solids and their formulas #3: How to solve an SAT solid geometry problem with our SAT math strategies Solid geometry adventure here we come! Typical Solid Geometry Questions on the SAT Before we go through the formulas you'll need to tacklesolid geometry, it's important to familiarize yourself with the kinds of questions the SAT will ask you about solids. SAT solid geometry questions will appear in two formats: questions in which you are given adiagram, and word problem questions. No matter the format, each type of SAT solid geometry questionexiststotestyour understanding of the volume and/or surface area of a figure. You will be asked how to find the volume or surface area of a figure or you'll be asked to identify how a shape's dimensions shift and change. Diagram Problems A solid geometry diagram problem will provide you with a drawingof a geometrical solid and ask you to find a missing element of the picture. Sometimes they will ask you to find the volume of the figure, the surface area of the figure, or the distance between two points on the figure. They may alsoask you to compare the volumes, surface areas, or distances of several different figures. This is a typical "comparing solids" SAT question. We'll go through how to solve it later in the guide. Word Problems Solid geometry word problemswill usually ask you tocomparethe surface areas or volumes of two shapes. They will often giveyou the dimensions of one solid and then tell youto compare its volume or surface area to a solid with different dimensions. By how many cubic feet is a box with a height of 2inches, a width of 6 inches, and a depth of 1 inch greater than a cylinder with a height of 4 inches and a diameter of 6 inches? This is a typical word problem question that might appear in the grid-in section of the SAT math Other word problems mightask you to contain one shape within another. This is just another way of getting you to think about a shape's volume and ways to measure it. What is the minimum possible volume of acube, in cubic inches,thatcouldinscribe a sphere with a radius of 3 inches? A) $12√3$ (approximately $20.78$) B) $24√3$ (approximately $41.57$) C) $36√3$ (approximately $62.35$) D) $216$ E)$1728$ This is a typical inscribing solids word problem. We'll go through how to solve it later in the guide. Solid geometry word problemscan be confusing to many people, because it can be difficult to visualize the question without apicture. As always with word problems that describe shapes or angles, make the drawing yourself! Simplybeing able to seewhat a question is describing can do wonders to help clarify the question. Overall Style of Solid Geometry Questions Every solid geometry question on the SAT is concerned with either the volume or surface area of a figure, or the distance between two points on a figure. Sometimes you'll have to combine surface area and volume, sometimes you'll have to compare two solids to one another, but ultimately all solid geometry questions boil down to these concepts. So now let's go through how to find volumes, surface areas, and distances of all the different geometric solids on the SAT. A perfect example of geometric solidsin the wild Prisms A prism is a three dimensional shape that has (at least) two congruent, parallel bases. Basically, you could pick up a prism and carry it with its opposite sides lying flat against your palms. A few of the many different kinds of prisms. Rectangular Solids A rectangular solid is essentially a box. It has three pairs of opposite sides that are congruent and parallel. Volume $\Volume = lwh$ The volume of a figure is the measure of its interior space. $l$ is the length of the figure $w$ is the width of the figure $h$ is the height of the figure Notice how this formula is the same as findingthe area of the square ($A = lw$) with the added dimension of height, as this is a three dimensional figure First, identify the type of question- is it asking for volume or surface area? The question asks about the interior space of a solid, so it's a volume question. Now we need to finda rectangular volume, but this question is somewhat tricky. Notice that we're finding out how much water is in a particular fish tank, but the water does not fill up the entire tank. If we just focus on the water, we would find that it has a volume of: $V = lwh$ = $(4)(3)(1) = 12\cubic\feet$ (Why did we multiply the feet and width by 1 instead of 2? Because the water only comes up to 1 foot; it does not fill up the entire 2 feet of height of the tank) Nowwe are going to put that 12 cubic feet of water into a second tank. This second tank has a total volume of: $V = lwh$ = $(3)(2)(4) = 24\cubic\feet$ Although the second tank can hold 24 cubic feet of water, we are only putting in 12. So $12/24 = 1/2$. The water will come up at exactly half the height of the second tank, which means the answer is D, 2 feet. Either way, those fish won't be very happy in half a tank of water Surface Area $\Surface\area = 2lw + 2lh + 2wh$ In order to find the surface area of a rectangular prism, you are finding the areas for all the flat rectangles on the surface of the figure (the faces) and then adding those areas together. In a rectangular solid, there are six faces on the outside of the figure. They are divided into three congruent pairs of opposite sides. If you find it difficult to picture surface area, remember that a die has six sides. So you are finding the areas of the three combinations of length, width, and height (lw, lh, and wh), which you then multiply by two because there are two sides for each of these combinations.The resulting areas are then all added together to getthe surface area. Diagonal Length $\Diagonal = √[l^2 + w^2 + h^2]$ The diagonal of a rectangular solid is the longest interior line ofthe solid. It touches from the corner of one side of the prismto the opposite corner on the other. You can find this diagonal by either using the above formula or by breaking up the figure into two flat triangles and using the Pythagorean Theorem for both. You can always do this is you do not want to memorize the formula or if you're afraid of mis-remembering the formula on test day. First, find the length of the diagonal (hypotenuse) of the base of the solid using the Pythagorean Theorem. $c^2 = l^2 + w^2$ Next, use that length as one of the smaller sides of a new triangle with the diagonal of the rectangular solid as the new hypotenuse. $d^2 = c^2 + h^2$ And solve for the diagonal using the Pythagorean Theorem again. Cubes Cubes are a special type of rectangular solid, just like squares are a special type of rectangle A cubehasa height, length, and width that are all equal. The six faces on a cube's surface are also all congruent. Volume $\Volume = s^3$ $s$ is the length of the side of a cube (any side of the cube, as they are all the same). This is the same thing as finding the volume of a rectangular solid ($v = lwh$), but, because their sides are all equal, you can simplify it by saying $s^3$. First, identify what the question is asking you to do. You're trying to fit smallerrectangles into a larger rectangle, so you're dealing with volume, not surface area. Find the volume of the larger rectangle (which in this case is a cube): So you can use the formula for the volume of a cube: $\Volume = s^3$ = $6^3 = 216$ Or you can use the formula to find the volume of any rectangular solid: $\Volume = lwh$ = $(6)(6)(6) = 216$ Now find the volume of one of the smaller rectangular solids: $\Volume = lwh$ = $(3)(2)(1) = 6$ And divide the larger rectangular solid by the smaller to find out how many of the smaller rectangular solids can fit inside the larger: $216/6 = 36$ So your final answer is D, 36 SurfaceArea $\Surface\area = 6s^2$ This is the same formulas as the surface area for a rectangular solid ($SA = 2lw + 2lh + 2hw$). Because all the sides are the same in a cube, you can see how $6s^2$ was derived: $2lw + 2lh + 2hw$ = $2ss + 2ss + 2ss$ = $2s^2 + 2s^2 + 2s^2$ = $6s^2$ Diagonal Length $\Diagonal= s√3$ Just as with the rectangular solid, you can break up the cube into two flat triangles and use the Pythagorean Theorem for both as an alternative to the formula. This is the exact same process as finding the diagonal of a rectangular solid. First, find the length of the diagonal (hypotenuse) of the base of the solid using the Pythagorean Theorem. Next, use that length as one of the smaller sides of a new triangle with the diagonal of the rectangular solid as the new hypotenuse. Solve for the diagonal using the Pythagorean Theorem again. Cylinders A cylinder is a prism with two circular bases on its opposite sides Notice how this problem only requires you to know that thebasic shape of a cylinder.Draw out the figure they are describing. If the diameter of its circular bases are 4, that means its radius is 2. Now we have two side lengths of a right triangle. Use the Pythagorean Theorem to find the length of the hypotenuse. $2^2 + 5^2 = c^2$ = $29 = c^2$ = $c = √29$, or answer C Volume $\Volume = πr^2h$ $π$ is the universal constant, also represented as 3.14(159) $r$ is the radius of the circular base. It is any straight line drawn from the center of the circle to the circumference of the circle. $h$ is the height of the circle. It is the straight line drawn connecting the two circular bases. This problem requires you to understand how to get both the volume of a rectangular solid and the volume of a cylinder in order to compare them. A right circular cylinder with a radius of 2 and a height of 4 will have a volume of: $V = πr^2h$ = $π(2^2)(4) = 16π$ or $50.27$ The volumes for the rectuangular solids are found by: $V = lwh$ So solid A has a volume of $(3)(3)(3) = 27$ Solid B has a volume of $(4)(3)(3) = 36$ Solid C has a volume of $(5)(4)(3) = 60$ Solid D has a volume of $(4)(4)(4) = 64$ And solid E has a volume of $(4)(4)(3) = 48$ So the answer is E, 48 Surface Area $\Surface\area = 2πr^2 +2πrh$ To find the surface area of a cylinder, you are adding the volume of the two circular bases ($2πr^2$), plus the surface of the tube as if it were unrolled ($2πrh$). The surface of the tube can also be written as $SA = πdh$, because the diameter is twice the radius. In other words, the surface of the tube is the formula for the circumference of a circle with the additional dimension of height. Non-Prism Solids Non-prism solids are shapes in three dimensions that do not have any parallel, congruent sides. If you picked these shapes up with your hand, a maximum ofone side (if any) would lie flat against your palm. Cones A cone is similar to a cylinder, but has only one circular base instead of two. Its opposite end terminates in a point, rather than a circle. There are two kind of cones- right cones and oblique cones. For the purposes of the SAT, you only have to concern yourself with right cones. Oblique cones are restricted to the math I and II subject tests. A right cone has an apex (the terminating point on top) that sits directly above the center of the cone’s circular base. When a height ($h$) is dropped from the apex to the center of the circle, it makes a right angle with the circular base. Volume $\Volume = 1/3πr^2h$ $π$ is a constant, written as 3.14(159) $r$ is the radius of the circular base $h$ is the height, drawn at a right angle from the cone’s apex to the center of the circular base The volume of a cone is $1/3$ the volume of a cylinder. This makes sense logically, as a cone is basically a cylinder with one base collapsed into a point. So a cone’s volume will be less than that of a cylinder. Surface Area $\Surface\area = πr^2 + pirl$ $l$ is the length of the side of the cone extending from the apex to the circumference of the circular base The surface area is the combination of the area of the circular base ($πr^2$) and the lateral surface area ($πrl$) Because right cones make a right triangle with side lengths of: $h$, $l$, and $r$, you can often use the pythagorean theorem to solve problems. Pyramids Pyramids are geometric solids that are similar to cones, except that they have a polygon for a base and flat, triangular sides that meet at an apex. There are many types of pyramids, defined by the shape of their base and the angle of their apex, but for the sake of the SAT, you only need to concern yourself with right, square pyramids. A right, square pyramid has a square base (each side has an equal length) and an apex directly above the center of the base. The height ($h$), drawn from the apex to the center of the base, makes a right angle with the base. Volume $\Volume = 1/3\area\of\the\base * h$To find the volume of a square pyramid, you could also say $1/3lwh$ or $1/3s^2h$, as the base is a square, so each side length is the same. Spheres A sphere is essentially a 3D circle. In a circle, any straight line drawn from the center to any point on the circumference will all be equidistant. This distance is the radius (r). In a sphere, this radius can extend in three dimensions, so all lines from the surface of the sphere to the center of the sphere are equidistant. Volume $\Volume = 4/3πr^3$ Inscribed Solids The most common inscribed solids on the SAT will be: cube inside a sphere and sphere inside a cube. You may get another shape entirely, but the basic principles of dealing with inscribed shapes will still apply. The question is most often a test ofYou’ll often have to know the solid geometry principles and formulas for each shape individually to be able to put them together. When dealing with inscribed shapes, draw on the diagram they give you. If they don’t give you a diagram, make your own!By drawing in your own lines, you’ll be better able to translate the three dimensional objects into a series of two dimensional objects, which will more often than not lead you to your solution. Understand that when you are given a solid inside another solid, it is for a reason. It may look confusing to you, but the SAT will always give you enough information to solve a problem. For example, the same line will have a different meaning for each shape, and this is often the key to solving the problem. So we have an inscribed solid and no drawing. So first thing's first, make your drawing! Now because we have a sphere inside a cube, you can see that the radius of the sphereis always half the length of any side of the cube (because a cube by definition has all equal sides). So $2r$ is the length of all the sides of the cube. Now plug $2r$ into your formula for finding the volume of a cube. You can either use the cube volume formula: $V = s^3$ = $(2r)^3 = 8r^3$ Or you can use the formula to find the volume of any rectangular solid: $V = lwh$ = $(2r)(2r)(2r) = 8r^3$ Either way, you getthe answer E,$8r^3$ Notice how answer B is $2r^3$. This is a trick answer designed to trap you. If you didn't use parentheses properly in your volume of a cube formula, you would have gotten $2r^3$. But if you understand that each side length is $2r$ and so that entire length must be cubed, then you will get the correct answer of $8r^3$. For the vast majority of inscribed solids questions, the radius (or diameter) of thecircle will be the key to solving the question.The radiusof the sphere will be equal to half the length of the side of a cube if the cube is inside the sphere (as in the question above). This means that the diameter of the sphere will be equal to one side of the cube, because the diameter is twice the radius.. But what happens when you have a sphere inside a cube? In this case, the diameter of the sphere actually becomes the diagonal of the cube. What is the maximum possible volume of acube, in cubic inches,thatcould be inscribed inside a sphere with a radius of 3 inches? A) $12√3$ (approximately $20.78$) B) $24√3$ (approximately $41.57$) C) $36√3$ (approximately $62.35$) D) $216$ E)$1728$ First, draw out your figure. You can see that, unlike when the sphere was inscribed in the cube, the side of thecube is not twice the radius of the circle because there are gaps between the cube's sides and the circumference of the sphere. The only straight line of the cube that touches two opposite sides of the sphere is the cube's diagonal. So we need the formula for the diagonal of a cube: $\side√3 = \diagonal$ $s√3 = 6$ (Why is the diagonal 6? Because the radius of the sphere is 3, so $(3)(2) = 6$) $3s^2 = 36$ $s^2 = 12$ $s = √12$ $(√12)^3 = 12√12 = 24√3$ Though solid geometry may seem confusing at first,practice and attention to detail will have you navigating the way to the correct answer The Take-Aways The solid geometry questions on the SAT will alwaysask you about volume, surface area, or the distance between points on the figure. The way they make it tricky is by making you compare the elements of different figures or by making you take multiple steps per problem. But you can always break down any SAT question into smaller pieces. The Steps to Solvinga Solid Geometry Problem #1: Identify what the problem is asking you to find. Is the problem asking about cubes or spheres? Both? Are you being asked to find the volume or the surface area of a figure? Both? Make sure you understandwhich formulas you'll need and what elements of the geometric solid(s) you are dealing with. #2: Draw it out Draw a picture any time they describe a solid without providing you with a picture. This will often make it easier to see exactly what information you have and how you can use that information to find what the question is asking you to provide. #3: Use your formulas Once you've identified the formulas you'll need, it's often a simple matter of plugging in your given information. If you cannot remember your formulas (like the formula for a diagonal, for example), use alternative methods to come to the answer, like the pythagorean theorem. #4: Keep your information clear and double check your work Did you make sure to label your work? The makers of the test know that it's easy for students to get sloppy in a high-stress environment and they put in bait answers accordingly. So make sure thevolume for your cylinder and thevolume for your cube are labeled accordingly. And don't forget to give your answer a double-check if you have time! Does it make sense to say that a box with a height of 20 feet can fit inside a box with a volume of 15 cubic feet? Definitely not! Make sure all the elements of your answer and your work are in the right place before you finish. Follow the steps to solving your solid geometry problems andyou'll get that gold Solid geometry is often not as complex as it looks; it is simply flat geometry that has been taken into the third dimension. If you can understand how each of these shapes changes and relate to one another, you’ll be able to tackle this section of the SAT with greater ease than ever before. What's Next? Now that you've done your paces onsolid geometry, it might bea good idea to review all the math topics tested on the SAT to make sure you've got them nailed down tight. Want to get a perfect score? Check out our article onHow to an 800 on the SAT Mathby a perfect SAT scorer. Currently scoring in the mid-range? Running out of time on the math section?Look no further than our articles on how to improve your score if you're currently scoring below the 600 rangeand how to stop running out of time on the SAT math. Want to improve your SAT score by 160 points? Check out our best-in-class online SAT prep program. We guarantee your money back if you don't improve your SAT score by 160 points or more. Our program is entirely online, and it customizes what you study to your strengths and weaknesses. If you liked this Math strategy guide, you'll love our program.Along with more detailed lessons, you'll get thousands of SAT Mathpractice problems organized by individual skills so you learn most effectively. We'll also give you a step-by-step program to follow so you'll never be confused about what to study next. Check out our 5-day free trial:

Major General Horatio Wright in the Civil War

Major General Horatio Wright in the Civil War Horatio Wright - Early Life Career: Born at Clinton, CT on March 6, 1820, Horatio Gouverneur Wright was the son of Edward and Nancy Wright.   Initially educated in Vermont at former West Point Superintendent Alden Partridges military academy, Wright later gained an appointment to West Point in 1837.   Entering the academy, his classmates included John F. Reynolds, Don Carlos Buell, Nathaniel Lyon, and Richard Garnett.   A gifted student, Wright graduated ranked second of fifty-two in the class of 1841.   Receiving a commission in the Corps of Engineers, he remained at West Point as an assistant to the Board of Engineers and later as an instructor of French and engineering.   While there, he married Louisa Marcella Bradford of Culpeper, VA on August 11, 1842.   In 1846, with the Mexican-American War beginning, Wright received orders that directed him to aid in making harbor improvements at St. Augustine, FL.   Later working on the defenses at Key West, he spent most of the next decade engaged on various engineering projects.   Promoted to captain on July 1, 1855, Wright reported to Washington, DC where he acted as an assistant to Chief of Engineers Colonel Joseph Totten.   As sectional tensions increased after the election of President Abraham Lincoln in 1860, Wright was dispatched south to Norfolk the following April.   With the Confederate attack on Fort Sumter and beginning of the Civil War in April 1861, he unsuccessfully attempted to implement the destruction of the Gosport Navy Yard.   Captured in the process, Wright was released four days later. Horatio Wright - Early Days of the Civil War: Returning to Washington, Wright aided in the design and construction of fortifications around the capital until being posted to serve as chief engineer of Major General Samuel P. Heintzelmans 3rd Division.   Continuing to work on area fortifications from May to July, he then marched with Heintzelmans division in Brigadier General Irvin McDowells army against Manassas.   On July 21, Wright assisted his commander during the Union defeat at the First Battle of Bull Run.   A month later he received a promotion to major and on September 14 was elevated to brigadier general of volunteers.   Two months later, Wright led a brigade during Major General Thomas Sherman and Flag Officer Samuel F. Du Ponts successful capture of Port Royal, SC.   Having gained experience in combined army-navy operations, he continued in this role during operations against St. Augustine and Jacksonville in March 1862.   Moving to division command, Wright led part of Major General David Hunters army duri ng the Union defeat at the Battle of Secessionville (SC) on June 16. Horatio Wright - Department of the Ohio: In August 1862, Wright received a promotion to major general and command of the newly re-formed Department of the Ohio.   Establishing his headquarters at Cincinnati, he supported his classmate Buell during the campaign that culminated with the Battle of Perryville that October.   On March 12, 1863, Lincoln was forced to rescind Wrights promotion to major general as it had not been confirmed by the Senate.   Reduced to brigadier general, he lacked the rank to command a department and his post passed to Major General Ambrose Burnside.   After commanding the District of Louisville for a month, he transferred to Major General Joseph Hookers Army of the Potomac.   Arriving in May, Wright obtained command of the 1st Division in Major General John Sedgwicks VI Corps. Horatio Wright - In the East: Marching north with the army in pursuit of General Robert E. Lees Army of North Virginia, Wrights men were present at the Battle of Gettysburg in July but remained in a reserve position.   That fall, he played an active role in the Bristoe and Mine Run Campaigns.   For his performance in the former, Wright earned a brevet promotion to lieutenant colonel in the regular army.   Retaining command of his division following the reorganization of the army in the spring of 1864, Wright moved south in May as Lieutenant General Ulysses S. Grant advanced against Lee.   After leading his division during the Battle of the Wilderness, Wright assumed command of VI Corps when Sedgwick was killed on May 9 during the opening actions of the Battle of Spotsylvania Court House.   Quickly promoted to major general, this action was confirmed by the Senate on May 12. Settling into corps command, Wrights men participated in the Union defeat at Cold Harbor at the end of May.   Crossing the James River, Grant moved the army against Petersburg.   As Union and Confederate forces engaged north and east of the city, VI Corps received orders to move north to aid in defending Washington from Lieutenant General Jubal A. Earlys forces which had advanced down the Shenandoah Valley and won a victory at Monocacy.   Arriving on July 11, Wrights corps was quickly moved into the Washington defenses at Fort Stevens and aided in repelling Early.   During the fighting, Lincoln visited Wrights lines before being moved to a more protected location.   As the enemy withdrew on July 12, Wrights men mounted a brief pursuit. Horatio Wright - Shenandoah Valley Final Campaigns: To deal with Early, Grant formed the Army of the Shenandoah in August under Major General Philip H. Sheridan.   Attached to this command, Wrights VI Corps played key roles in the victories at Third Winchester, Fishers Hill, and Cedar Creek.   At Cedar Creek, Wright held command of the field for the early phases of the battle until Sheridan arrived from a meeting at Winchester.   Though Earlys command was effectively destroyed, VI Corps remained in the region until December when it moved back to the trenches at Petersburg.   In the line through the winter, VI Corps attacked Lieutenant General A.P. Hills men on April 2 when Grant mounted a massive offensive against the city.   Breaking through the  Boydton Line, VI Corps achieved some of the first penetrations of the enemys defenses.   Ã‚      Pursuing Lees retreating army west after the fall of Petersburg, Wright and VI Corps again came under the direction of Sheridan.   On April 6, VI Corps played a key role in the victory at Saylers Creek which also saw Union forces capture Lieutenant General Richard Ewell.   Pressing west, Wright and his men were present when Lee finally surrendered three days later at Appomattox.   With the war ending, Wright received orders in June to take command of the Department of Texas.   Remaining until August 1866, he then left volunteer service the following month and reverted to his peacetime rank of lieutenant colonel in the engineers. Horatio Wright - Later Life: Serving in the engineers for the remainder of his career, Wright received a promotion to colonel in March 1879.   Later that year, he was appointed Chief of Engineers with the rank of brigadier general and succeeded Brigadier General Andrew A. Humphreys.   Involved in high-profile projects such as the Washington Monument and Brooklyn Bridge, Wright held the post until his retirement on March 6, 1884.   Living in Washington, he died on July 2, 1899.   His remains were buried at Arlington National Cemetery beneath an obelisk erected by veterans of VI Corps.           Ã‚     Ã‚   Selected Sources: NPS: Horatio WrightCivil War Trust: Horatio WrightOhio Civil War: Horatio Wright