In her discussion about comparing the examples in Child taken from the Scottish oral tradition with the De Marsan broadside (and other American versions, including a number from New England) Gardner-Medwin says, specifically with regard to the verse about putting and and parading riches:

"The other element which is present in the Scottish group and in some American variants, but not in De Marsan's broadside, is the finery that the young woman dresses up in before she leaves. (This finery should be distinguished from his offer to her of fine clothing.) Compare this verse from the Scottish side with the American one.

CHILD D, vs. 13

She's drawn the slippers on her feet,
Were covered o'er with gold,
Well lined within wi velvet fine,
To hide her frae the cold.
(See also D4 and perhaps E8)

BRONSON 2, vs 4

She dressed herself as in a yellow rose,
Most glorious to behold,
And she walked the streets all round and about,
And shined like glittering gold.

(See also Bronson 9, 25, 27, 32, 33, 34, 47, 50 etc.)

It will be observed that this element is frequent in America. It is found in versions from the Southern Appalachians, and interestingly enough, it is also found in New England. Helen Hartness Flanders collected many versions of this ballad, and Tristram P. Coffin, who wrote the critical analyses for the collection, felt that the Flanders versions were much affected by the popularity of the song in print. He says:

"Most of the texts follow De Marsan's song, which is similar to Child B, rather faithfully, but he probably took his version from established oral tradition." [25]

It is true that these New England versions are very like De Marsan, and indeed we know that a copy of De Marsan's broadside came north, for there is one in the collection of the American Antiquarian Society at Worcester, Massachusetts, nevertheless six of the sixteen versions published by Helen Hartness Flanders contain the verse describing the young woman who dresses herself up, and walks up and down, and who looks like "a glittering queen."[26]

This image could have come to New England directly from Scotland or more probably from the oral tradition current in America, since the Flanders versions are closer to the Southern Appalachian ones than to the Scottish. While it is possible that other American broadside versions existed and were later lost, evidence points to a widespread currency of the ballad in American oral tradition, quite apart from the influence of the De Marsan broadside."