UGANDA PKOTECTOBATE. 612 UHDE. The administration is left largely by Great Britain to the native chiefs. The British Gov- ernment is represented by a conniiissioner and a deputy commissioner. The colonial forces, num- bering 4.000 men. are coinnianded and largely officered by Englishmen. The headquarters of the English administration are at Entebbe. The gov- ernment of the kingdom of Uganda, the chief state of the protectorate, is a feudal and heredi- tary monarchy. The native King's parliament is called 'Lukiko;' the capital is Jlengo. The kings of Tore, Unyoro, and Ankole possess similar though less important honors and privileges. The protectorate is divided into five prov- inces, which are subdivided into districts or counties. There are British consular courts for the settlement of disputes between Europeans and natives. The local revenue of the protecto- rate in 1903 was estimated at about $200,000; the expenditure, at .$670,000. Great Britain makes up the deficits. The population is es- tinuited to be about 4,000,000. There are less than 500 Europeans. The natives of the protectorate may be classi- fied as Negritos or Pygmies, Bantus (q.v.), Ni- lotic Negroes, Hamites, and Jlasai (q.v.). though most of them are probably mixtures in varying degree of these dirt'erent types. The Pygmies are not numerous, a few licing found in that part of the Congo forest which is included within the limits of the protectorate. The Bantus, who in general are an agricultural people, make up nearly half the population. The Hamites are represented by a few tribes in the islands and on the north shore of Lake Rudolf and by the pastor- al WaHunia or Bahima. probably of Galla aneestrj' (see Gallas). wlio more than 100 years ago conquered the Bantu agriculturists, and at present, more or less mixed with Bantu blood, form the aristocracy and ruling classes. They are purest in the western part of the protecto- rate, where there ^re also a few separate Bahima tribes. The Masai are met with in the Rudolf region, the Suk and Turkana tribes being good representatives. The Nilotic Negroes occupy the Nile Province and a large part of the Central Province, reaching the Victoria Nyanza in Kav- irondo. Negro tribes also extend southward along the Albert Nyanza, especially on the west side, the Semliki River, and the Albert Edward Nyanza to the extreme southwest corner of the protectorate. The Uganda Protectorate was formed initially of the once powerful native kingdom of Uganda, which has been in the British sphere of influence since 1890. The protectorate dates from 1894. The region was first visited by a European ( Cap- tain Speke) in 1862. Stanley passed through Uganda in 1875. Bibliography. Speke, Jowrnal of the Discovery of the Hource of the Nile (Edinburgh. 1863) ; Tay- lor. The Lake Ilefiions of Cenlral Africa (New York. 1875) : Reclus, G^ographie universelle, vol. xiii. (Paris, 1888) : Stanlev. In Darkest Africa (New York, 1890) ; Richter, Uganih ( Giitersloli, 1893) : KoUmann, The Victoria Xyanza (Lon- don. 1900) ; Scott-Elliott. .1 Naturalist in Mid Africa (ib., 1896) : Johnston. The Uganda Protec- torate (ib., 1902) : Ansorge, Under the African Sun (London. 1899) ; Ashe. Tico Kings of Uganda (2d ed., ib-.. 1897) ; Colville. The Land of the Nile Springs (ib., 1895) ; Lugard, Tlic Story of Ugan- da (ib., 1900) ; Purvis, Handbook of British East Africa and Uganda (ib., 1900) ; Wilson and Fel- kin, Uganda and the Egyptian Sudan (ib., 1882). UGOGO, u-go'go. A district of German East Africa, about 170 miles west of that part of the coast opposite Zanzibar. It is a bare, arid pla- teau, about 3500 feet in altitude, inhabited by the Gogo, or Wagogo. a warlike Bantu tribe (Map: Congo Free State, G 4). TJGOLINO DA SIENA, oo'g61e'n6 da sya'na. A name appearing in the early annals of Sienese painting and unce thought from its difTerent des- ignations to apply to four persons. It is prob- able, however, that the Ugolino da Siena who was influenced by Duccio and Cimabue, and who died at an advanced age in 1339, was identical with Ugolino di Neri and Ugolino di Pietro, mentioned in Sienese records of 1317 and 1324. The only work attributed to him with any degree of probability is part of an altar-piece which was painted for Santa Croce at Florence, two panels of which are now in Ix)ndon. Another Ugolino da Siena, or tfgolino di Prete Ilario, also of the fourteenth centurv, painted in the Cathedral of Orvieto in 1364 and 1378. TJGRIANS. A term often used to designate a subdivision (closely related to the Finns) of the Ural-Altaic stock, which included the Ostiaks, Voguls, and Magj'ars. See Ural-Altaic. TJHDE, oo'de, Fritz von (1848—). A Ger- man historical and genre painter, born at Wol- kenburg. Saxony. He began his artistic studies at the Dresden Academy in 1866. but, totally at variance with the spirit prevailing there, entered upon a military career and served in the army until 1877, when he took up painting again, at Jlimich, giving his attention especially to the old Dutch masters. L^nsuccessful in his attempts to gain admittance to the studios of either Piloty or Diez. he was induced by JIunkacsy in 1879 to remove to Paris, where he worked for a short time in that master's studio, but principally stud- ied from nature and his old Netherland models. A result of these combined influences was the "Family Concert" ( 188 1, Cologne Museum) . The new coloristic principles which he in the mean- while adopted are apparent in the "Arrival of the Organ-Grinder" ( 1883 ) . and. turning now to religious subjects, he gave full vent to the most uncompromising sobrietv in composition in his "Suffer the Little Child'ren to Come unto Me!" (1884, Leipzig Museum). As this scene is de- picted as taking place in a poor working man's room, so is also the following subject, "Come, Lord Jesus, and Be Our Guest" (1885. National Gallery, Berlin). He next produced "Christ with the Disciples at Emmaus" ( 1885, Stiidel Institute, Frankfort)", "The Sermon on the Mount" (1887), the triptvch of the "Nativitv" (1889, Dresden Gallery), and "The Walk to Bethlehem" (1890, New Pinakothek, Munich), a bold modern con- ception of the subject. Progressing in his natural- istic conception, L'hde gave rise to a complete change in German art, counting among his fol- lowers most of the yoimger generation. His more recent productions include: "Noli me tangere" (1894, New Pinakothek. Munich). "The Wise Men from the East" (1896, Magdeburg Museum ) , "The Last Supper" (1897, Stuttgart Museum), "Ascension" (1898, New Pinakothek, Munich), and "Woman, Why Weepest Thou?" (1900, Vi-
