Among the minor celebrations of which the interior of Notre Dame has been the scene may be mentioned a mass said some twenty years before the Revolution for the broken arm of the famous dancer, Madeleine Guimard. One evening, when the fascinating Madeleine was performing in _Les fêtes de l'Hymen et de l'Amour_, a heavy cloud fell from the theatrical heavens upon one of her slender arms and broke it. Then it was that the services of the Church were invoked on behalf of the popular _ballerina_. The interesting and graceful, though far from beautiful, Madeleine, was justly esteemed by the clergy; for during the severe winter of 1768 she had given to every destitute family in her neighbourhood enough to live on for a year, at the same time paying personal visits to each of them. "Not yet Magdalen repentant, but already Magdalen charitable!" exclaimed a famous preacher, in reference to Madeleine Guimard's good action. "The hand," he added, "which knows so well how to give alms will not be rejected by St. Peter when it knocks at the gate of Paradise." The Paris Cathedral has, strangely enough, been the scene, both in ancient and modern times, of dramatic performances. There, in the olden days, "Mysteries" were represented; and there, in 1790, a melodrama was played, entitled "The Taking of the Bastille," and described as "specially written for Notre Dame." This performance was followed by a grand Te Deum, sung by members of the Opera, though one of the first effects of the Revolution was to drive the best singers away from Paris. Soon afterwards, music, history, and religion were once more to be intermingled. This was in August, 1792. when the last day of the French Monarchy (August 10) was at hand.