Duchamp was not satisfied for long with the cubist technique for evoking the fourth dimension and in 1912 he starts a serious study on dimensions and perspective. In that same year took a job as a librarian at the Bibliotèque Sainte-Geneviève (Fig. 3) and he claimed he “first glimpsed the fourth dimension in his work” . He published three assemblages of his notes: the Box of 1914, the Green Box (1934) and the White Box - À L’infinitif (1967). The last two were reproduced in facsimile first and published in books after being typo-translated many years later.
The aim of Duchamp’s notes was a diverse and complex pattern of ideas and concepts that explored with rigour and innovation the very up to date worries on the time on the 4th dimension. Inspired in Leonardo Da Vinci, Duchamp’s notes on the Large Glass are handwritten, coded and diagrammatic. His notes include small drawings and explore perspective to the maximum depth possible. Duchamp also tried to make his notes visually as much alike as possible to the notes of renascence master (Fig. 4) leaving us a legacy of pages without any specific order as Leonardo did.