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Audience Who is the author’s intended reader or viewer?
Is the audience an inferior or a superior of the author?
Does the audience have a close or distant relationship to the author?

The primary sources in this book are presented in a variety of ways. First, each chapter includes indi-
vidual written and visual sources labeled AP® Claims and Evidence in Written Sources and
AP® Claims and Evidence in Visual Sources. These have headnotes explaining something about the
author and the document and providing context; they also have questions for analysis. To encourage
comparative analysis, each chapter also includes two written or visual sources that show contrasting or
complementary perspectives on a particular issue, labeled AP® Viewpoints. In addition, each chapter
has a group of primary sources designed to allow you to answer a specific historical question, labeled
AP® Thinking Like a Historian. This group of documents is similar to the Document-Based Question
on AP® exams (more on this later).
this sample.
Bedford, Freeman & Worth Publishers.
EXERCISE: Look at the painting The Young Scholar and His Wife (1640) by Gonzales
Worth Publishers.
Coques on page 195 in the “AP® Claims and Evidence in Visual Sources” feature for
Chapter 5. Answer the first question: “What social and cultural values does this painting
For review purposes only. Not for redistribution.
seem to celebrate?” To answer this, you will need to look carefully at the painting itself.
Uncorrected proofs have been used in
In every such feature in this book, whether written or visual, you will be able to answer
the first question simply from reading or looking at the primary source. This question
also asks you to provide a list of the details in the painting that are the evidence for
by Bedford, Freeman &
your answer, which is Skill 3, Claims and Evidence in Sources. The headnote for this
source provides information about Coques and about the Netherlands during the time
that this was painted, and thus about the author (or, in this case, the artist), historical
situation, and audience. From this information, you might also gain some ideas about
Coques’s possible purpose in creating this painting, which is also part of question 2:
“What insight does the painter offer into the roles of men and women in society and the
attributes of masculinity and femininity?” Every such feature in the book has a question
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or two that ask you to consider the author, purpose, historical situation, and/or
audience, so you will get practice analyzing sources like you’ll be expected to do on the
Distributed
AP® exam. These questions also involve contextualizing, making comparisons, making
connections, and determining causation, so they allow you to practice other historical
thinking skills and reasoning processes as well.

SKILL 3: CLAIMS AND EVIDENCE IN SOURCES

Both primary and secondary sources make claims or arguments, informed by the author’s knowl-
edge about the subject and evidence. When they develop their own arguments, historians weigh
the claims of various sources and evaluate the evidence on which they are based. But because evi-
dence from the past is often incomplete or difficult to understand, and historians evaluate it dif-
ferently, there are a variety of interpretations of most historical
Historians weigh the claims of events. Just as in science, the discovery of new evidence some-
various sources and evaluate the times causes historians to change their minds about a develop-
evidence on which they are based.
ment or to modify an argument they had previously made.
For example, all scholars agree that the growth of industry first in England and then elsewhere in
the eighteenth and nineteenth centuries was a major historical development. It was so important,

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