Most of her training was received from George Gray Barnard, with whom she studied for three years. In 1904, she was awarded a bronze medal at the St. Louis Exposition; the Girl on Roller Skate was purchased by the Metropolitan Museum in 1907; the Windy Doorstep was awarded the Helen Foster Barnett prize at the exhibit of the New York Academy in 1910; her figure of the veiled Salome was bought by an Italian Art Society in Venice; and she is one of the ten women who belong to the National Sculpture Society. Miss Eberle is best known, perhaps, for her dancing figures, and her depiction of the everyday picturesque life on the lower East Side in New York, where she lived for years. Her people live for us, and speak for themselves,—from the placid, necessitous hunt of the Rag Picker to the tremulous wistfulness of the loving Little Mother; from the tender feeling of The Bath Hour to the intense, joyous absorption of the Rag-time dancer and the exultant balance of that flying little figure on the Roller Skate—and please notice that, characteristically, there is only one—borrowed, no doubt for a precious three-minute “coast.” [Illustration: THE WINDY DOORSTEP ] The qualities which art critics first look for—the sure touch and line of her modelling, the line composition and massing—are especially apparent in The Windy Doorstep, in which Miss Eberle touches the high-water mark of her more objective figures. Here it will be more interesting to note the steps by which social values have crept into her work. First of all, her deep and instinctive love for children, and her appreciation of human values, led her to select types that until recently have been almost entirely disregarded. To this keen observer and lover of human nature, the many years of contact with this vivid, arduous East Side life—reinforced and interpreted by constant reading and thinking—brought an ever-increasing sense of social interrelation and interdependence. Jane Addams’ books have, more than anything else, she says, helped to clarify and mould her vision of the constructive part the sculptor may play in social readjustment. This growth of social consciousness has been reflected in her work. [Illustration: THE LITTLE MOTHER ] Just as The Windy Doorstep, with its fine feeling for the dignity of everyday homely tasks, outranks the Roller Skater which, she says, was done in a purely objective spirit, so the White Slave records a forward step which is a difference of kind even more than degree. [Illustration: _THE RAG PICKER_ ]