This study investigates the liturgical attire of the Church of England from the seventeenth through the nineteenth century, by studying the major Anglican vestments, observing modifications and omissions in the garments and their uses, and researching the reasons for any changes. Using the various Anglican Prayer Books and the monarchial time periods as a guide, the progressive usages and styles of English liturgical attire are traced chronologically within the political, social and religious environments of each era. By examining extant originals in England, artistic representations, and ancient documentation, this thesis presents the religious symbolism, as well as the artistic and historical importance, of vestments within the Church of England from its foundation to the twentieth century.

The problem of this survey is to ascertain the relationship between nine Texas art museums and contemporary art, defined for this study as art of the 1970s. The role of the museum and its involvement with contemporary art are also perceived in respect to the general public. The purpose of this study was (1) to visit nine Texas art museums and interview the director or curator of contemporary art, using a standardized questionnaire, and (2) to present and analyze the responses to the questionnaire. The eight questions comprising the survey were formulated to include both practical and philosophical related concerns. Therefore, the survey responses and final conclusions reflect a variety of issues ranging from the physical accommodation of diverse contemporary works to the more fundamental philosophical issue concerned with contemporary art's presence in the museum and the institution's function.

The purpose of this study was to determine whether The Large Glass was a negation of women for Marcel Duchamp. The thesis is composed of five chapters. Chapter I is the introduction to the thesis. CHapter II includes a synopsis of the major interpretations of The Large Glass. Duchamp's statements in regard to The Large Glass are also included in Chapter II. Chapter III explains how The Large Glass works through the use of Duchamp's notes. Chapter IV investigates Duchamp's negation of women statement in several ways. His personal relationships with relatives including his wives and other women, and his early paintings of women were examined. His idea of indifference was seen within the context of the Dandy and his alter ego, Rrose Selavy as a Femme Fatale. His machine paintings are also seen as a part of his idea of detachment and negation of women. Detachment as an intellectual pursuit was probed with his life-long interest in chess. The Large Glass was then seen as not only showing inconographically a negation of women but also as being an intrinsic component of his life and his work.