spared neither urging nor vague hints of a future 'kind return' for all services, to extract from his young friend an original and striking volume of verse, and even copious prose notes, illustrative of local traditions. The poet was lured to London to help to push the volume through the press. Cromek gave him free quarters the while, and then left him to hire himself as a sculptor's mason, at six-and-twenty shillings a week. Subsequently Cromek spoke a good word for his protégé to Chantrey, young then, and with little to employ a second pair of hands, but who, some years later, took Allan as a workman. The engagement, as Chantrey's fortunes rose, transformed itself into a higher one, which lasted till the end of the sculptor's life.
The volume was swelled to due dimensions by a few poems collected from other sources, and by plausible, loose-spun letter-press of Cromek's own,—an 'Introduction' and critical 'Notices' of the poems; including grave details of how one had been taken down from the recitation of such and such 'a young girl,' or 'worthy old man.' The Remains of Nithsdale and Galloway Song, printed by Bensley, was published by Cadell and Davies, at the latter end of 1810, with a spirited woodcut vignette by Clennell, after Stothard. It is now scarce.
Some general expressions of 'obligation to Mr. Allan Cunningham' for 'guidance and interesting conversation,' was the sole acknowledgment accorded the gratis contributor (as author and collector) of the bulk and all the value of the volume. To which add a presentation copy, accompanied by the candid assurance, 'It has been a costly work, and I have made nothing by it, but it is d—d good, let the critics say what they will, and when it goes to a second edition, I will give you something handsome! The book was well received and sold well, but never went to a second edition; our publishers having taken care to make the first a large one. None of Cromek's clients grew sleek on his bounty. Nine years later, Cunningham's true share in the volume became known.
