The last flowering of Beauvais pastoral tapestries began in the 1780s with the creation of this series entitled Pastorales ' Draperies Bleues et Arabesques, also known as Pastorales ' Palmiers in 1780. They were created under the lasting influence of Frangois Boucher (d. 1770), who had introduced the typical light and pleasant atmosphere into the rococo tapestries from Beauvais. Jean-Baptiste Huet (d. 1811) was commissioned to supply this series to the Royal Beauvais Tapestry Workshop by de Menou, who led the atelier from 1780 until 1793 when it was briefly closed down during the Revolution. De Menou had come from Aubusson and replaced Andri-Charlemagne Charron under whom the workshop had decreased in size to 50 weavers. De Menou was able to revitalise the business briefly and employed 120 weavers, but the pre-Revolutionary years did not allow for any newly created series to achieve the same success that those of the mid-eighteenth century had enjoyed.

These tapestries were designed with the decorative schemes in mind that were introduced in the mid-eighteenth century. The palm trees and draperies were to create an informal and unifying border that allowed for the tapestry to be fitted into boiseries, while the subjects could be adapted for the upholstery of seat furniture so that a closed pictorial effect could be formed in a room. This series was composed of ten individual subjects that could be combined in numerous ways and included the subjects La Pjche, L'Offrande ' l'Amour, L'Escarpolette, Le May, La Moisson, La Danse and Arabesques et Animaux (J. Badin, La Manufacture de Tapisseries de Beauvais depuis ses Origines jusqu' ' nos Jours, Paris, 1909, p. 64). Six weavings, none of them including all subjects, are recorded between 1780 and 1790. One large set, probably purchased in 1785, remains in the collection of the Duke of Argyll, Inveraray Castle (D. Heinz, Europdische Tapisseriekunst des 17. und 18. Jahrhunderts, Vienna, 1995, pl. 24)