Neither the metal works nor the paintings which Verocchio did remain, and after about 1466 he devoted himself entirely to sculpture. It is difficult to associate him with Donatello; his execution is finished like most sculptors who were also metal-workers; his nude parts are true to nature, but not graceful or attractive, and his draperies are in small folds, which give a tumbled, crumpled effect rather than that of the easy, graceful falling of soft material. His best works are a David in the Museum of the Bargello, Florence; a bronze Genius pressing a Dolphin to itself on a fountain in the court of the Palazzo Vecchio (Fig. 87); an equestrian statue of Colleoni before the Church of San Giovanni e Paolo, Venice (Fig. 88); and a group of St. Thomas examining the Wounds of Christ at the Church of Or San Michele, Florence. This last work is in his best and latest manner; the expression is powerful, but the drapery is still very faulty. [Illustration: FIG. 87.--BOY WITH DOLPHIN. _By Verocchio._] Although this equestrian statue is called by Verocchio's name, he did not live to see it completed; and though it was without doubt made from his design, still some credit for its execution is due to Alessandro Leopardo, who finished it. When Colleoni died he left all his large fortune to the Republic of Venice on condition that they should erect an equestrian monument to him in the square of St. Mark. As it was forbidden by the laws of Venice to place such things in the Piazza of St. Mark, it was placed in its present position, before the Church of San Giovanni e Paolo, on the square of the School of St. Mark, and it was thought that this answered the requirements of the will. [Illustration: FIG. 88.--STATUE OF COLLEONI. _By Verocchio._]