See S. de Pufendorf, _De rebus gestis Friderici Wilhelmi Magni_ (Leipzig and Berlin, 1733); L. von Orlich, _Friedrich Wilhelm der grosse Kurfuerst_ (Berlin, 1836); K. H. S. Roedenbeck, _Zur Geschichte Friedrich Wilhelms des grossen Kurfuersten_ (Berlin, 1851); B. Erdmannsdoerffer, _Der grosse Kurfuerst_ (Leipzig, 1879); J. G. Droysen, _Geschichte der preussischen Politik_ (Berlin, 1855-1886); M. Philippson, _Der grosse Kurfuerst_ (Berlin, 1897-1903); E. Heyck, _Der grosse Kurfuerst_ (Bielefeld, 1902); Spahn, _Der grosse Kurfuerst_ (Mainz, 1902); H. Landwehr, _Die Kirchenpolitik des grossen Kurfuersten_ (Berlin, 1894); H. Prutz, _Aus des grossen Kurfuersten letzten Jahren_ (Berlin, 1897). Also _Urkunden und Aktenstuecke zur Geschichte des Kurfuersten Friedrich Wilhelm von Brandenburg_ (Berlin, 1864-1902); T. Carlyle, _History of Frederick the Great_, vol. i. (London, 1858); and A. Waddington, _Le Grand Electeur et Louis XIV_ (Paris, 1905). FREDERICK-LEMAITRE, ANTOINE LOUIS PROSPER (1800-1876) French actor, the son of an architect, was born at Havre on the 28th of July 1800. He spent two years at the Conservatoire, and made his first appearance at a variety performance in one of the basement restaurants at the Palais Royal. At the Ambigu on the 12th of July 1823 he played the part of Robert Macaire in _L'Auberge des Adrets_. The melodrama was played seriously on the first night and was received with little favour, but it was changed on the second night to burlesque, and thanks to him had a great success. All Paris came to see it, and from that day he was famous. He created a number of parts that added to his popularity, especially Cardillac, Cagliostro and Cartouche. His success in the last led to an engagement at the Porte St Martin, where in 1827 he produced _Trente ans, ou la vie d'un joueur_, in which his vivid acting made a profound impression. Afterwards at the Odeon and other theatres he passed from one success to another, until he put the final touch to his reputation as an artist by creating the part of Ruy Blas in Victor Hugo's play. On his return to the Porte St Martin he created the title-role in Balzac's _Vautrin_, which was forbidden a second presentation, on account, it is said, of the resemblance of the actor's wig to the well-known _toupet_ worn by Louis Philippe. His last appearance was at this theatre in 1873 as the old Jew in _Marie Tudor_, and he died at Paris on the 26th of January 1876.