Details of Ernest's life and work are elusive and the few critics that comment on his work cannot agree.  Marcus Crouch wrote "there is a little of Beatrix Potter, but none of the magic, in Ernest Aris's many books".  However Margaret Blount had a different view "The mouse children have a ragamuffin look, rather like the original Bisto Kids, with clothes and shoes rather too large for them in the children's styles of 1916 - boy mice in rather baggy trousers, girl mice in smocked pinafores.  In their field and hedgerow settings they are very 'real' but their eyes are human.  By this I mean that they have cornea, iris and pupil, the effect is a compromise of human expressiveness in a mouse face, and quite acceptable… and the stories have a slightly romantic element quite lacking in Beatrix Potter"

Beatrix Potter had her own view.  She wrote to Mr Aris using her married name of Mrs Heelis to ask what he would charge for illustrating a booklet in the style of Jemima-Puddleduck by Beatrix Potter and was most put out when, "he had the effrontery to inform the offended author that he had never seen that classic!"   Ernest, who had worked in Windermere, was seemingly aware of the literary identity of Mrs Heelis and chose to respond in this way as he had already imitated Jemima in his book Mrs Beak Duck (illustrated; note the resemblance to Mrs Cacklegoose & Jemima) .  He sensed an opportunity and sent her publisher, Harold Warne, some examples of his work and offered his services.  Harold, who was in financial difficulties, was keen to publish more tales by the reluctant Beatrix and forwarded the books, and Ernest's letter, to her.  Rather than be annoyed she saw this as both a compliment and as her eyesight was failing and because her hands were getting stiff; an opportunity.  She wrote that she had "wished for a long time that you would find some second string – this man to my thinking is just what we want."

Beatrix wrote direct to Ernest commissioning and ultimately purchasing six drawings for a story, which she had in mind as a gift for her niece Nancy.  She provided Ernest with some rough sketches and instructions as to composition and colouring, which, together with Ernest's originals are now in the ownership of the Victoria and Albert Museum.  In engaging him she is careful not to let him know that she is Beatrix Potter.  Within the month Ernest has finished the commission and in a letter to Mrs Heelis dated 18 September 1916 he forwards the drawings, advising her that he found her colours on the sombre side so he brightened them up and had also altered the composition.  Although she advised, "Russet brown and blue grey check (rather than greens) would show well on the elves clothing" Ernest, in his inimitable way, chose red.  Beatrix later used aspects of design and colour presented to her by Ernest.  She swapped his meadow bedecked with yellow flowers to open fell but she retained his two Oakmen carrying a bundle suspended from a pole, which had not been a feature of her draft sketch.  He advised her that in one of her sketches "the figures are a little too near the front of the picture" and she used that comment to open out the design. 

This episode gives an insight into Ernest's character and mischievous sense of humour.  He had recorded in "Who's Who" that he had been an Art Director at Windermere.  The then small village of Windermere (1913/16) did not have an establishment where he could have been an Art Director.  It is entirely possible that this entry relates to the special relationship that he enjoyed with Beatrix and it was his little joke at our expense.  This would be entirely in keeping with his art of self-promotion.

At the same time that Ernest was being considered as a 'second string' to Beatrix an American publisher used Ernest's pictures to illustrate a plagiarised version of Beatrix's The Story of a Fierce Bad Rabbit.   Whilst she advised Harold to sue the publishers she suggested that they buy Aris out.

Beatrix's publishers were up in arms a year later when Ernest's book The Treasure Seekers featured a rabbit called Peter.  Beatrix defended Ernest but advised Warne's to remonstrate with the publishers.  Warne's did exactly that and Ernest apologised direct to Beatrix thus acknowledging his awareness of her literary identity.  Beatrix told her publishers that Aris was "an artlessly conceited little bounder" which put paid to plans for a partnership.   He changed publishers and adopted pseudonyms; his work as Robin A Hood is well known but few are aware that he issued six books as Dan Crow.

Ernest was obviously good company as Beatrix described him as both "amusing" and a "scamp" whilst his pal Charles Bayne (the Editor of Little Folks from 1908 to 1915) said that he had an "endless store of humorous ideas".  He was certainly a character and in today's parlance, a chancer; he took liberties and as a plagiarist he gambled.  He was obviously quick to adapt to meet popular taste and although he was not averse to drawing inspiration from other artists he did manage to create his own style to produce enduring and endearing images of heroes in original situations. 

I am quite proud of the fact that my personal research has established a link to Beatrix Potter - this information has never been public knowledge and is currently unique to this site; doubtless booksellers will eventually catch on and my research will be consigned to history.  It has often been cited that their work bears similarities; now we know why. 

Note:-  My research has subsequently been published by Linda Lear in her book on Beatrix Potter - A Life in Nature