In the ballet of “Les Fêtes de l’Hymen et de l’Amour,” in 1766, Guimard had the misfortune to have one of her arms broken by a piece of falling scenery. Such was her place in public regard even at this time, that a Mass was said at Notre-Dame for her recovery. It was not long after success came to her that Guimard accepted the protection of the notorious Prince de Soubise. One of her first acquisitions, in 1768, was a superb residence at Pantin, just outside Paris, which was decorated by Fragonard. It was visited by everybody who _was_ anybody, for, apart from the charms of its mistress, there was a theatre in the mansion, where entertainments of a very special kind were staged, little poetic trifles or risky comedies, which while delighting a circle of appreciative connoisseurs would not have been staged in the ordinary way, as being caviare to the general. The place at Pantin, however, did not suffice the exigent Madeleine, and a town-house was taken also in the Chaussée d’Antin,--next to that of Sophie Arnould by the way--where another theatre was built and where even more festive entertainments were provided, a theatre which could seat five hundred persons (only present by invitation) which received the name of The Temple of Terpsichore. It was designed by the architect Ledoux, decorated by Fragonard, who did numerous lovely panels in which Guimard appeared; and by David, then a youthful assistant, whom Madeleine’s generous aid is said to have sent to Rome for the furtherance of his art education. Here in the course of time all Paris came. Here Guimard held her famous receptions--three a week, to the first of which were invited members of the Court circles, the aristocracy of the aristocracy; to the second--artists, actors, actresses, musicians, poets, the aristocracy of the world of intellect; to the third--all the polished rakes and roués, with their attendant Phrynes, the aristocracy of vice. There seem to have been wild times in the Chaussée d’Antin Hôtel, and some of Madeleine’s private theatrical productions must have been worthy of tottering Rome. Well might discreet Abbés, and reputedly virtuous ladies of the Court hide behind the curtains of the darkened and mysterious boxes with which her theatre was provided. Not be seen while seeing was their only chance to retain a virtuous reputation! It was now doubtless that after having long danced _le genre sérieux_, Guimard abandoned it as one record says for the _genre mixte_, and was “inimitable” in “les ballets Anacréontiques!”