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Artifacts that have experienced atrocities, even genocide, and survived, acquire the power to recall the horrors of the past, and to recollect the absent persons, things, and places that were lost. They symbolize violence, but also survival and resilience. Material objects that have endured looting, mutilation, displacement, and separation from the communities where they functioned as sacred relics, liturgical aids, or prized artworks form a special category. They aresurvivor objects.

The Venetian nobleman Ambrosio Bembo (1652–1705) included this panorama of Aleppo by the French artist G.J. Grélot (see Figure 1), as one of the fifty-one carefully observed line drawings of cities, buildings, and people integral to his travelogue, proudly entitled Travels and Journal through Part of Asia during about Four Years Undertaken by Me, Ambrosio Bembo, Venetian Noble. During his visits to Aleppo between 1672 and 1675, Bembo may have crossed paths with the great Ottoman traveler Evliya Çelebi (1611–82?), who included his own description of that commercial capital of the eastern Mediterranean in his monumental Seyahatname (Book of Travels). Evliya's book does not include a single illustration. This divergence is emblematic of the distinct ways in which early modern societies (in this case, Middle Eastern and European) visualized cities and architecture, and highlights a major challenge to writing the architectural and urban history of the Middle East before the 19th century: the almost complete absence of images that represent architecture.

In the letters he wrote from Aleppo in 1600, the British merchant William Biddulph described the daily life of this dynamic center of the East–West trade, the city where spices and silks from India and Iran were exchanged for English broadcloth and New World silver in one of the world's largest covered bazaars. He also presented Muslim practices and religious beliefs, emphasizing those features that seemed to him most unusual and reprehensible. His contempt fell firmly on a fixture of the early modern Islamic street, the ecstatic, antinomian Muslim saint:
They also account fooles, dumbe men, and mad men,…Saints. And whatsoever such mad men say or doe…or strike them, and wound them, yet they take it in good part, and say, that they shall have good lucke after it. And when such mad men die, they Canonize them for Saints, and erect stately Monuments over their graves, as we have here many examples, especially of one (who being mad) went always naked, whose name was Sheh Boubac…they…erected an house over his grave, where…they are Lampes burning night and day, and many idle fellows (whom they call Darvises) there maintained to looke unto his Sepulchre…