L’articolo affronta dapprima il problema dell’origine familiare del notaio genovese IngoContardi valutando due ipotesi, forse saldabili, che sollevano il problema della mobilità socia-le: che il padre sia un macellaio oppure che provenga da una famiglia di piccolo-media aristo-crazia. Prende poi rapidamente in esame la sua formazione professionale e constata che è per-venuto solo un documento rogato per il comune della sua città a fronte di un discreto numerodi fascicoli di registri dedicati ai soli contratti fra privati, relativi agli anni 1234-1262.L’articolo ripercorre soprattutto come questo notaio costruisca e fidelizzi in diverso mododue segmenti qualificanti della sua clientela: quella dei drappieri e degli artigiani con loro incontatto e quella costituita da famiglie aristocratiche, alcune delle quali a fine secolo si conso-ceranno in un albergo. Con i primi Ingo Contardi attua la scelta di rendersi facilmente reperi-bile in una postazione dirimpetto al magazzino del fratello drappiere, Bonaventura; con le se-conde calibra accortamente i propri comportamenti professionali facendo emergere i loro le-gami interni e funge forse anche da tramite rispetto a frange dello schieramento di Popolo.The first part of the essay addresses the problem of the origins of the Genoese notary
Ingo Contardi by considering two, perhaps interconnected, hypotheses which raise the problem
of social mobility: was his father a butcher or did he belong to a family of the lesser aristocracy?
A brief discussion on his professional training ensues. Here it is noted that only a
single document written by him for the commune survives, as compares to several fragments
of registers containing private contracts covering the years 1234-1262, that have been preserved.
Overall, the article traces how this notary attracted clients and the different ways by
which he managed to secure the loyalty of two specific segments of his clientele: on the one
hand a group of drapers and the artisans connected to them, and on the other a group of noble
families, some of which joined into an albergum at the end of the thirteenth century. For
what concerns the artisans, Ingo Contardi chose to be easily available to them by establishing
his workplace in front of the store run by his brother Bonaventura, a draper. In order to secure
the fealty of the aristocratic families he gauged his professional behaviour carefully, bringing
out their internal bonds, perhaps acting also as a bridge to some fringes of the Popolo
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