The conclusion argues that the unusual situation of the artist’s workshop, in which he worked in a variety of different media, was the precondition of Verrocchio’s practice. It also suggests how the materials with which the artist worked exercised certain agency over the final product. Yet the conclusions reached here do not assume that Verrocchio was an unthinking practitioner, led simply by his materials. Instead, I have explored the numerous levels on which Verrocchio’s engagement with his materials is manifested in and meaningful for comprehending his objects, concluding that to understand his practices, we must acknowledge the artist’s relationships with matter. What Verrocchio’s objects present to us are demonstrations of a Renaissance artist’s deep understanding of his materials as meaningful and mutable. But they also make clear how matter could be engaged with to make certain claims, the claims that could not be expressed in any other medium.