the hill-side, the three spent the afternoon happily together,
rejoicing over the viands of a small bag of provisions, and a bottle of
milk, and another of whisky. Hogg often afterwards visited the
Cunninghams at Dalswinton, and was forcibly struck with Allan's
luxuriant though unpruned fancy. He had already written some ingenious
imitations of Ossian, and of the elder Scottish bards.

On the publication of the "Lay of the Last Minstrel," in 1805,
Cunningham contrived to save twenty-four shillings of his wages to
purchase it, and forthwith committed the poem to memory. On perusing the
poem of "Marmion," his enthusiasm was boundless; he undertook a journey
to Edinburgh that he might look upon the person of the illustrious
author. In a manner sufficiently singular, his wish was realised.
Passing and repassing in front of Scott's house in North Castle Street,
he was noticed by a lady from the window of the adjoining house, who
addressed him by name, and caused her servant to admit him. The lady was
a person of some consideration from his native district, who had fixed
her residence in the capital. He had just explained to her the object of
his Edinburgh visit, when Scott made his appearance in the street.
Passing his own door, he knocked at that of the house from the window of
which his young admirer was anxiously gazing on his stalwart figure. As
the lady of the house had not made Scott's acquaintance, she gently laid
hold on Allan's arm, inducing him to be silent, to notice the result of
the proceeding. Scott, in a reverie of thought, had passed his own
door; observing a number of children's bonnets in the lobby, he suddenly
perceived his mistake, and, apologising to the servant, hastily
withdrew.

Cunningham's elder brother Thomas, and his friend Hogg, were already
contributors to the _Scots' Magazine_. Allan made offer of some poetical
pieces to that periodical which were accepted. He first appears in the
magazine in 1807, under the signature of _Hidallan_. In 1809, Mr Cromek,
the London engraver, visited Dumfries, in the course of collecting
materials for his "Reliques of Robert Burns;" he was directed to Allan
Cunningham, as one who, having known Burns personally, and being himself
a poet, was likely to be useful in his researches. On forming his
acquaintance, Cromek at once perceived his important acquisition with
respect to his immediate object, but expressed a desire first to examine
some of his own compositions