An accident at a young age left Hendrick Goltzius (1558–1617), an engraver, draftsman, and painter, with scar tissue that affected the mobility of his hand. During Goltzius’s lifetime, the artist and historian Karel van Mander published a biography that positioned Goltzius as a pinnacle of artistic excellence comparable to Michelangelo. A reevaluation of Goltzius’s career through the lens of critical disability theory reveals that his engagement with the theme of the hand in his artworks, as well as its significance in his biography, framed his disability as a source of unique embodied knowledge and pride.