The hand has long been a symbol of what makes human beings human. It is still used to convey this meaning, despite the decline of manual labor and the replacement of manual dexterity by machines, robots, and computers. A number of twentieth-century images remind us of the hand's labor power: for example, Fernand Leger's 1951 homage to Vladimir Mayakowsky, his earlier 1918 painting, “The Mechanic,” which is a veritable icon of the worker whose hand forms the dynamic compositional element (Fig. 1), and Diego Rivera's “Detroit Industry Frescoes,” where gigantic hands symbolize humanity's struggle with the material world. In European visual traditions, the iconography of the hand as labor power is imprinted by three types of images: Renaissance imagery, industrial allegory, and artisan and worker iconography. In Renaissance art, Michelangelo, in “The Creation” in the Sistine Chapel, reinterpreted the Biblical reference to God's breathing life into the world by adding the barely touching hands of God and Adam, thereby suggesting the virtue of active work. Industrial allegory, developed in the sixteenth and seventeenth centuries, emphasized the “bourgeois” view of work as a sign of goaloriented, planned achievement and success in the world, with the hand depicted as a tool that creates new tools and hence the organ that makes humanity the crowning work of creation.