These included St Mark's Clocktower (Torre dell'Orologio) from Mauro Codussi, and at the Doge's Palace, the monumental steps (Scala dei Giganti) from the brothers Marco and Pietro Lombardo, and a new wing reaching towards the Rio.

He also privately commissioned a majestic funeral monument for Marco and himself in Santa Maria della Carità [it] and commissioned Bellini twice, first to produce the official portrait of Marco for the Sala del Maggior Consiglio (1486–87) and then to produce a "large panel",[1] as his ex-voto for the Doge's Palace.

[2] In Venice it became the custom in the Renaissance for the higher officials, beginning with the Doge, to commission (at their personal expense) an ex-voto painting in the form of a portrait of themselves with religious figures, usually the Virgin or saints, in thanks for achieving their office.

[5] In 1501, already dying, Agostino left the canvas to the nunnery of Santa Maria degli Angeli in Murano to be its high altarpiece, but it was soon moved from there (to make room for Titian's Annunciation) to San Pietro Martire.

Vasari mentioned it as being in San Michele di Murano but probably mistook it for another Bellini work, now lost, which was already in the Cappella della Santissima Croce in the church of the Camaldolese.