In his study of the origins of Bob Dylan's version of "The House Carpenter," Clinton Heylin notices a number of verses that show up in various renditions of this ballad in the U.S. that are not found in the De Marsan/J. Andrews broadside of the mid-1800s. He comments on this broadside saying,

"The so-called De Marsan broadside, actually first published by De Marsan's predecessor J. Andrews in New York circa 1857 - and rapidly adopted by American printers of songsters and broadsides like Delaney and Wehamn - seems to have played a large part in any mini-revival, at the same time loosening the grip of all previous templates on American tradition. Of the 200+ versions collected in America in the twentieth century, not even a handful omit this text's unmistakeable watermark.

In other words, this nineteenth century American broadside, a descendant of a late seventeenth-century English broadside, has been almost entirely responsible for the song's survival, and the form of its survival, in twentieth century tradition."

But what about those verses that keep showing up in the American versions that are not in the De Marsan broadside? Through a detailed analysis, Heylin traces these verses back to either Scottish versions of the ballad, or to other Scottish ballads. On this basis he is able to hypothesize that there were earlier, or at least other sources for the spreading popularity of "The House Carpenter" in America, and to further posit that these sources were more than likely Scottish.

Here are those verses that are not a part of the De Marsan broadside, but which show up in various American versions of the ballad, which Heylin has been able to trace back to Scottish origins.

If you will leave your house carpenter,
And go along with me.
I'll take you where the grass grows green,
On the banks of sweet Italy.                               [the use of "sweet Italy"]

O hold your tongue of your former vows,
For they'll bring bitter strifes.
O hold your tongue of your former vows,
For I have become a wife.
--
She dressed herself in rich attire,
Most glorious to behold,
And as she tread upon her road
She shone like the glittering gold.
---
Oh, what is that [hill] that shines so white,
That shines as white as snow?
Oh, those are the hills of heaven itself,
Where we may never go.

Oh, what is that [hill] that shines so black,
That shines as black as a crow?
Oh, that is the [hills] of Hell itself,
Where you and I must go.