Baudelaire is about gilding rather than about pattern. It refers to the practice of laying gold leaf and other precious metals over a prepared surface, and the design is built to show what that does to light: plumes of feathering rise up the panel, printed in burnished metal over quiet, neutral grounds, so the ornament changes as the light in a room changes and the ground stays still behind it.
The plumes are drawn as a panel rather than as a scattered motif, which gives the design an architecture. Each rises and opens in a way that recalls the crestings on eighteenth-century furniture and the plasterwork above a chimneypiece, and hung in sequence they give a wall a rhythm of upright bays. It is decorative in a distinctly formal register.
The match is a half drop with a 64 cm repeat on a 0.5 m roll, slightly narrower than most, so measure widths properly. Because the design depends on reflected light, it wants a room where light can be directed: a dining room lit low, a drawing room with lamps, a hall with a lantern. Against plain paint, dark timber and unpatterned cloth it reads as gilding; against pattern it simply reads as busy.
