Amongst the later causes tried in London for the recovery of sums forfeited by the wagers on D’Eon’s sex, was that of Jones and Dacosta, in which a verdict was given in favour of the plaintiff; but a motion having been made in the Court of King’s Bench for an arrest in judgment, Lord Mansfield delivered his opinion in its favour, in which all the other judges concurred. The decision, he said, tended to indecency, and to make the courts of justice subservient to the purposes of gamblers and swindlers—a conclusion that was heartily approved by all right-minded persons throughout the country. No sooner had the news reached D’Eon than he issued a ‘Second Letter to Women,’ dated Paris, February 10, 1778, opening with these words:— ‘Victory! my contemporaries, victory! My honour, your honour, triumphs. The Lord Chief Justice of England has himself, in the presence of the twelve judges of England, rescinded and annulled his own decisions on the validity of the policies raised on my sex....’[342] CHAPTER XVII. Epistle to Lord Mansfield—Voltaire on D’Eon—Anxiety to get quit of petticoats—Mademoiselle D’Eon de Beaumont in peaceful retreats—Applies for active service in the fleet—Returns to male attire, is arrested, and confined—Being liberated goes home—Arrival in London—Fences before the Prince of Wales—Mr. Angelo—Mademoiselle D’Eon and Phillidor at chess—Advertised sale of library—Treatment by a British peer the cause thereof—Earl Ferrers’ bond—Sale of jewellery. There appeared at about this time in England the translation of a letter in verse from D’Eon to Lord Mansfield, on the decision he had pronounced in the late trial. In his preface the translator frankly states that he has taken the liberty of deviating a little from the original, especially where Mademoiselle, in her address to his lordship, and in the warmth of her imagination, had seemed to have forgotten that she was in petticoats. The title page is illustrated with a plate representing the Chevalière in a double character, the right half of her body being in the dress of a dragoon with drawn sword in hand, the left half appearing as a buxom woman waving a fan.[343] A variety of similar grotesque likenesses made their appearance, one by Bradel, in Paris, also representing the Chevalière in both sexes. Other portraits, however, were in glorification of the heroine, the most remarkable being that published in _mezzo-tinto_ by S. Hooper, of Ludgate Hill, in which she appears as Pallas.[344] One of these prints having found its way to Voltaire, to whom D’Eon was not entirely a stranger, the old sage wrote to his friend d’Argental:—