The haggadah is a script for a home ritual rather than a work of scripture, and that is why it has been printed more than any other Jewish book. Its core is Geonic in outline and rabbinic in material, built on the Mishnah's instruction to begin with disgrace and end with praise, and to answer a child's question. It is deliberately unfinished — the four children exist so the telling can be adapted to whoever is at the table. Because it is a domestic object rather than a synagogue one, it escaped the aniconic pressure that kept images out of Jewish liturgical art, and the illuminated haggadot of medieval Spain, Germany and Italy are the richest Jewish figurative art before the modern period. The Sarajevo Haggadah, made in fourteenth-century Iberia, was carried into exile, hidden from the Nazis by the Muslim librarian Derviš Korkut, and hidden again during the 1990s siege. In the twentieth century every movement produced its own: kibbutz haggadot that removed God and replaced the exodus with agricultural labour, feminist haggadot with an orange on the seder plate, Soviet Jewish underground editions, civil rights haggadot. The text invites it.