marks the first sustained study of pendant paintings: discrete images designed as a pair. It opens with a broad overview that anchors the form in the medieval diptych, religious history, and aesthetic theory and explores its cultural and historical resonance in the 19 -century United States. Three case studies examine how antebellum American artists used the pendant format in ways revelatory of their historical moment and the aesthetic and cultural developments in which they partook. The case studies on John Quidor’s (1839) and (1849) and Thomas Cole’s and (1837) shed new light on canonical antebellum American artists and their practices. The chapter on Titian Ramsay Peale’s (1842) presents new material that pushes the geographical boundaries of American art studies toward the Pacific Rim. The book contributes to American art history the study of a characteristic but as yet overlooked format and models for the discipline a new and productive framework of analysis focused on the fundamental yet complex way images work back and forth with one another.