"THE conventional setting of the dining table de-fies every law of design and composition," says Marshall Fry, the artist who is largely responsible for its emancipation; and another critic has referred to it as "a white elephant in the midst of richly colored surroundings."

In spite of the great interest which every woman takes in beautiful china and linens, and the trouble and expense which hostesses go to in order to have original and elaborate table decorations, there have been few interesting developments in the fundamental conception of the table in recent times. Any attempt to free it from its dazzling and flowing white linen or lace, its conventional china, glassware, and flower arrangements, seems to have met with a short life. Interior decorators have evaded the fact that the most important function of the dining-room was to serve as a background of the set table, and have considered their work there finished with the planning of its appearance in repose.

Logically, the dining-room in activity is far more important than the dining-room in repose, and the set table should not only take its place as a component part of the room, but it should be its greatest decorative asset.

The first step in the emancipation of the dining table is in the table itself. The table should be selected to suit the proportions and shape of the room, and not because round or oblong tables happen to be in vogue, or because the "period" of the dining-room furniture calls for a particular type of table. In a long narrow room, an oblong table of suitable proportions will be found a great boon, while in square rooms or oval rooms, round or oval tables are usually more successful. Frequently an idea of the proper proportions for the dining table can be arrived at after the rest of the furniture has been put in place and several tables tried. If the furniture cannot be matched with a table which is the right size for the room, a good cabinet maker can usually be found to construct one with the lines and finish of the other pieces, but of the desired size. Several charming dining-rooms have had tables which instead of matching the sideboard and serving table matched the woodwork of the room and were treated with touches of color, repeating that in the hangings and walls. One of the tables illustrated was designed to go in a dining-room with gray wainscoting and dull blue walls. The rest of the furniture was mahogany built on Sheraton lines, but the table was dull blue and gray enlivened with touches of silver, green, and gold. Sometimes the table and chairs serve as a complete contrast to the other furniture which takes the color of the background.

Besides being suited to the proportions of the room, the table should also be selected with a view to its own good points. Clumsy, bulky, or awkward tables provide poor foundations for good design in their setting, especially with the new linens which do not tend to cover up deformities.

After the table, the next important step to be determined is the china. There seems to be little individuality displayed in the selection of the china for modern homes. Gold edged ware or conventional commercial patterns, differing very slightly from one another and with little character or interest, seem to be generally employed. Artistically this is an improvement over the naturalistic designs, ornate handpainting and gold work used ten or twenty years ago, but there are many delightful wares on the market which offer far greater opportunities for the achievement of distinctive table settings. The tenderness of the housewife of old for her china seems to be gradually passing away, and the selection is no longer marked by either her taste or individuality.

In the pursuit of china it is well to avoid the beaten paths and try the smaller shops which make a specialty of handling individual wares. Things often can be found there which are not seen elsewhere.

The selection of the china should be influenced largely by the decorative scheme of the dining-room.

For the country house, cottage, or bungalow, the Hungarian, Spanish, and Brittany peasant wares are striking and characteristic. The beautiful modern English Wedgewood can be had in a wide variety of the most charming colorings - sulphur yellow, lavender, blue, rose, green, and white - and is durable and not exorbitant in price. The texture and shapes are excellent and can nearly all be had in open stock patterns which greatly enhances their practical value. There is an orange chintz design in the Wedgewood and an Indian Tree design, which comes in many of the well known English wares, which are particularly good for commercially decorated china. There are many fascinating Japanese and Chinese wares, but, outside of the Sedji and Canton, they seem too brittle for ordinary use. There are many modern German and Austrian wares which come in many of the delightful shades of the Wedgewood, and much less expensive but, of course, not so excellent in texture or design. The little shops are full of suggestions, and china should not be selected in a day or a week.

For the particular mistress or hostess nothing can equal the superbly decorated china of the individual keramic workers. Any decorative scheme can be carried out in their brilliant enamel work upon the creamy Lenox belleek, or the white or colored Wedgewood, and one may rest assured that tableware of this kind is exclusive. Entire individually decorated sets are naturally prohibitive in price except for the very few, but it can often be used effectively to supplement plain china in place plates, salad service, and after dinner coffee cups, or its use may be confined to tea and breakfast sets.

Next comes the planning of the linen and accessories. The modern linens are made to fit the table on which they are to be used, and designed especially for the china with which they are to be used. This will be found to be no more expensive, if slightly more thought requiring, than the conventional way, and the results cannot be compared.