The Palace is located in Via Augusto Conti, where in the past stood the tower of "Stipendiari". The building was built in the middle fifteenth century, commissioned by Tommaso Roffia and was probably the Project of one of the sons of Baccio d'Agnolo.Between the '600 and' 700 it was renovated and decorated by Bamberini.

The façade was completed in the last years of the sixteenth century and presents the typical decorative shapes of the Tuscan Renaissance style . The building hosts the museum of the Archconfraternity of Mercy.

Archconfraternity of Mercy Museum (Mercy as brotherhood to assist the sick, it has been existing since the Middle Ages in Tuscany but in San Miniato it was founded later, around the middle of '7oo by Bishop Francesco Maria Poggi). Inside it is displayed a small part of the artistic heritage of the Confraternity, there are works of art and historical items relating to the activity of the Confraternity(Ambulance which was pulled by horses of the nineteenth-century period, a hearse, 'street lamps of the eighteenth century that were used during the processions, the registers of the brotherhood’s daily activities ). Some works of art belong to the Confraternity , others were part of the Roffia collection because the palace was the residence of the family; it was sold to the Confraternity of Mercy in 1901

( Roffia family being extinct by then). Some workscome also from Santa Trinita (Augustinian theme because they come from a Franciscan monastery).

Works of art:

· Painting that comes from Botticelli's school (river landscape, blue colors, background). Realized by Domenico di Zanobi, a pupil of Filippino Lippi and in turn a pupil of Botticelli. Work that comes from the Chapel of Santa Maria al Fortino ,a chapel that in the Middle Ages was annexed to a hospital (chapel founded by a doctor in S. Miniato named Giovanni Chellini). In the Work, we see in the centre Mary and the Child, God the Father at the top surrounded by angels with red wings( they are

the closest to God) and at thye bottom a series of Saints:you can see from behind Saints Cosmas and Damian that are Patron Saints of the medical Association Order, at the center of Saint Lucia, the patron saint against diseases, San Sebastian with the palm of martyrdom (Saints that have suffered martyrdom are all illustrated with a palm sprig) and the arrow because it was pierced in his maryrdom and St. Bartholomew because the client, that is to say the son of Giovanni Chellini, was called Bartolomeo. There is a painting in the middle that's probably ancient, but the painter repainted it and made a pictorial frame all around, just to adorn the ancient painting.

· Wedding of St. Catherine of Alexandria. Work that comes from the high altar of what is now the Church of Mercy but that was the church of the Augustinian convent. On the high altar wall had been brought a fresco representing a Madonna and Child that even since the Middle Ages had been located on the road. The work is by Vincenzo Dandini and in the last restoration even the signature came out (Dandini was sent by the Grand Duke of Tuscany to study in Rome in the studio of "The Cortonese" because he was interested in the Roman Baroque). It represents St. Catherine with a palm and a crown because she was a queen,; St. Michael, John the Evangelist that is recognizable because he is writing the Gospel and because he is accompanied by the eagle which is his attribute, and Joseph because has the flowering branch.

· Wooden Deposition of the twelfth century (unknown artist): Jesus Christ at the center and the sorrowful (San Giovanni

Evangelista and Mary). It is 'a kind of life size sculpture that had been replicated throughout the Middle Ages up to' 400. But this is one of the first examples of this model of sculpture; there is a similar one in Volterra and in Vicopisano. It dates back to the first half of the thirteenth century, no one knows where it came from (found inside the Augustinian convent). Originally it was colorful and it is a kind of sculpture that will be replicated very much; It was a way to identify the most and feel closer to the suffering.