The materials for the "Reliques" were drawn partly from the Pepys collection at Magdalen College, Cambridge; from Anthony Wood's, made in 1676, in the Ashmolean Museum at Oxford; from manuscript and printed ballads in the Bodleian, the British Museum, the archives of the Antiquarian Society, and private collections. Sir David Dalrymple sent a number of Scotch ballads, and the editor acknowledged obligations to Thomas Warton and many others. But the nucleus of the whole was a certain folio manuscript in a handwriting of Charles I.'s time, containing 191 songs and ballads, which Percy had begged, then still very young, from his friend Humphrey Pitt, of Prior's-Lee in Shropshire. When he first saw this precious document, it was torn, unbound, and mutilated, "lying dirty on the floor under a bureau in the parlor, being used by the maids to light the fire." The first and last leaves were wanting, and "of 54 pages near the beginning, half of every leaf hath been torn away."[39] Percy had it bound, but the binders trimmed off the top and bottom lines in the process. From this manuscript he professed to have taken "the greater part" of the pieces in the "Reliques." In truth he took only 45 of the 176 poems in his first edition from this source. Percy made no secret of the fact that he filled _lacunae_ in his originals with stanzas, and, in some cases, with nearly entire poems of his own composition. But the extent of the liberties that he took with the text, although suspected, was not certainly known until Mr. Furnivall finally got leave to have the folio manuscript copied and printed.[40] Before this time it had been jealously guarded by the Percy family, and access to it had been denied to scholars. "Since Percy and his nephew printed their fourth edition of the 'Reliques' from the manuscript in 1794," writes Mr. Furnivall in his "Forewords," "no one has printed any piece from it except Robert Jamieson--to whom Percy supplied a copy of 'Child Maurice' and 'Robin Hood and the Old Man' for his 'Popular Ballads and Songs' (1806)--and Sir Frederic Madden, who was allowed--by one of Percy's daughters--to print 'The Grene Knight,' 'The Carle of Carlisle' and 'The Turk and Gawin' in his 'Syr Gawaine' for the Bannatyne Club, 1839." Percy was furiously assailed by Joseph Ritson for manipulating his texts; and in the 1794 edition he made some concessions to the latter's demand for a literal rescript, by taking off a few of the ornaments in which he had tricked them. Ritson was a thoroughly critical, conscientious student of poetic antiquities and held the right theory of an editor's functions. In his own collection of early English poetry he rendered a valuable service to all later inquiries. These included "Pieces of Ancient Popular Poetry," 1791; "Ancient Songs," 1792; "Scottish Songs," 1794; "Robin Hood," 1795; besides editions of Laurence Minot's poems, and of "Gammer Gurton's Needle," as well as other titles.