The centerpiece of the fresco was a flock of cybernetic cherubs, each 
shouldering a spherical atom, converging on some central work-in-progress, 
a construct of some several hundred atoms, radially symmetric, perhaps intended 
to look like a bearing or motor. Brooding over the whole thing, quite large but 
obviously not to scale, was a white-coated Engineer with a monocular 
nanophenomenoscope strapped to his head. No one really used them because you 
couldn't get depth perception, but it looked better on the fresco because you 
could see the Engineer's other eye, steel-blue, dilated, scanning infinity like 
the steel oculus of Arecibo. With one hand the Engineer stroked his waxed 
mustache. The other was thrust into a nanomanipulator, and it was made obvious, 
through glorious overuse of radiant tromp l'oeil, that the atom-humping cherubs 
were all dancing to his tune, naiads to the Engineer's Neptune.