It is significant as it shows the vibrancy of Jewish art during the medieval period, scenes of daily life, and also highlights positive interfaith relations so often forgotten throughout this time.

[5] However, there are stylistic conventions which hint towards the Haggadah’s unique cross-cultural origins, such as headwear worn by some characters which are distinctly Italian like the red capitanesca hat.

[5] Additionally, some initial words are enveloped by gold fruits, assumed to be golden oranges, which are motifs commonly found in Italian-Jewish manuscript illumination.

It is noted that there is no patron in the colophon and pages were left blank at the end, so this work was likely made in advance to sell to a later buyer who might have had particular requests.

These charming scenes showing family life and Seder rituals might have been influenced by contemporary Italian or Sephardic works that Joel ben Simeon might have come into contact with during his time in Italy.

14b, 15b, and 16a show rare glimpses into medieval Jewish life mixed into scenes pertaining to the Passover lamb, matzah, and maror, respectively.

While a man spins the lamb over a gridiron, a couple of women chat while cooking and a dog is shown to be licking his teeth in hungry anticipation.

The man, with his wife, son, and daughter, climb atop the donkey and take their seats, with the smallest child being pulled along by the animal's tail.

Stylistically, the German parts of the haggadah are completely dissimilar to the Italian ones with regard to differences in floral motifs and depictions of figures, with some being far more delicate and some more crude.

Although no one knows the original patron of the Washington Haggadah, based on writings found on the blank pages it is believed to have been purchased by an Ashkenazi that Joel had encountered somewhere during his travels throughout Germany or Italy.

[7] The Haggadah's exact provenance is lost during the eighteenth and nineteenth centuries, but it is known that bibliographer and bookseller Ephraim Deinard obtained the manuscript during a trip to Italy in 1902 before it was later purchased by the Library of Congress in 1916.