The Bride Stripped Bare by Her Bachelors, Even (in French : La mariée mise à nu par ses célibataires, même), most often called The Large Glass (in French : Le Grand Verre), is an artwork by Marcel Duchamp over 9 feet (2.7 m) tall and almost 6 feet (1.76m) wide.

Duchamp worked on the piece from 1915 to 1923 in New York City, creating two panes of glass with materials such as lead foil, fuse wire, and dust.

The Bride Stripped Bare by Her Bachelors, Even is also the title given to The Green Box notes (1934) as Duchamp intended the Large Glass to be accompanied by a book, in order to prevent purely visual responses to it.

Duchamp sanctioned replicas of The Large Glass, the first in 1961 for an exhibition at Moderna Museet in Stockholm and another in 1966 for the Tate Gallery in London.

The entire composition is shattered, but rests sandwiched between two pieces of intact glass set in a metal frame with wooden base.

The Bride is a mechanical, almost insect-like, group of monochrome shaded geometric forms located along the left-hand side of the glass.

Its outline and grey shading are starkly offset by the three undulating squares of unpainted glass evenly spaced over the central part of the composition.

The opaque ones have swirling dark brown and gold colors and are almost solid three-dimensional forms, whereas the translucent ones are more ghostly outlines.

This rainbow-like shape is impaled centrally by a pole which connects them to the chocolate grinder at the lower part of the glass, and to the X-shaped rods that dominate the top center of the Bachelors' Domain.

These occurred when the piece was being moved from its first exhibition, and after effecting the repair, Duchamp decided he admired the cracks: an element of chance that enhanced what he had done intentionally, following the flow of energy in the work's composition.

The piece is placed in the Philadelphia Museum of Art gallery beside The Green Box, the selection of Duchamp's own notes on The Large Glass.

[7] It stands in front of a window, from which natural light creates a varying atmosphere depending on the time of day, the weather, and the season.

The placement of the Bachelors' nine "shots" (which never do reach the waiting Bride) was effected by dipping matches in wet paint and firing them from a toy cannon at the Glass.

The forces of gravity, wind, and "personalized chance" were thus substituted for the workings of his own conscious hand, always in the spirit of hilarity that Duchamp once paraphrased as that "necessary and sufficient twinkling of the eye," and always with the same meticulous, painstaking attention to detail that a scientist might apply to a controlled nuclear experiment.

[9]Duchamp's art does not lend itself to simple interpretations, and The Large Glass is no exception; the notes and diagrams he produced in association with the project – ostensibly as a sort of guidebook – complicate the piece by, for example, describing elements that were not included in the final version as though they nevertheless exist, and "explaining" the whole assembly in stream-of-consciousness prose thick with word play and jokes.

Dubbed The Green Box, this 'explanatory work' has been described as "No less ambiguously or freely interpretable than [The Large Glass] itself..."[10] Linda Dalrymple Henderson picks up on Duchamp's idea of inventing a "playful physics" and traces a quirky Victorian physics out of the notes and The Large Glass itself; numerous mathematical and philosophical systems have been read out of (or perhaps into) its structures.

"[12] Over the course of his life, Duchamp released three boxes related to The Large Glass, containing facsimiles of notes, photographs, and drawings.

[17][18] It also contains a single drawing of a cyclist riding uphill titled Avoir l'apprenti du soleil (To Have the Apprentice in the Sun).

One of the notes in the box makes an early reference to Duchamp's last work: Étant donnés, "Étant donné que ....; si je suppose que je sois souffrant beaucoup ...."[19] Copies of the box are held by the Centre Georges Pompidou,[20][21] the Philadelphia Museum of Art,[22] Musee Maillol in Paris, and the Art Institute of Chicago.

Printed in an edition of 320 (with 20 containing an original work numbered I to XX; a series called the "luxury edition"), the final work was nicknamed La Boîte verte (The Green Box) and bears the inscription "The Bride Stripped Bare by Her Bachelors, Even" in punched-out caps.