The other represented the inferno with Pluto, Proserpine, and the other personages made familiar by classic literature.

Between the two was a partition and at the rear of the inferno were the iron gates.[17] [Footnote 17: "Florentia: Uomini e cose del Quattrocento," by Isidore del Lungo.] One easily realizes the vivid potency of the picture when Baccio Ugolino, as Orpheus, clad in a flowing robe of white, with a fillet around his head, a "golden" lyre in one hand and the "plectrum" in the other, appeared at the iron gates, and, striking the strings of the sweet sounding instrument, assailed the stony hearts of the infernals with song as chaste and yet as persuasive as that of Gluck himself.

It is no difficult task to conjure up the scene, to see the gorgeously clad courtiers and ladies bending forward in their seats and hanging upon the accents of this gifted and accomplished performer of their day.
Of the history of Baccio Ugolino little, if anything, is known.

There was a Ugolino of Orvieto, who flourished about the beginning of the fifteenth century.

He was archpriest of Ferrara, and appears to have written a theoretical work on music in which he set forth a great deal of the fundamental matter afterward utilized in the writings of Tinctoris.