This thesis investigates the first three English translations of the Italian epic poem Orlando furioso by Ludovico Ariosto, published in England in the period 1591-1791. The thesis discusses the material forms and features of each translation, problematizing the notion of paratext to discuss the authorization of each translation in its contemporary literary milieu through the material and physical design of each edition.The thesis starts with an introduction which foregrounds the importance of the notion of materiality as a means to discuss translations and retranslations of the same work and how materiality can be used to analyse the 'architecture of authorization'. Chapter 1 discusses instances of 'textual cultures' to show the intersection between translation studies, philological studies, history of the book and literary studies on the Orlando furioso and to use this framework as a starting point for the analysis in the subsequent chapters. Chapter 2 analyses the first translation by John Harington, focussing on the inclusion of illustrations as a means to authorize the translation, and the abundance of commentaries and glosses within the book. The materiality of the book is used to establish generic models for the translation and discussed by the analysis of selected passages of the poem for their translation strategies. The analysis of translation strategies is shown to confirm the use and functions of the specific paratextual apparatuses. This methodology is followed throughout Chapters 3 and 4, which analyse the translations by William Huggins and John Hoole respectively. The conclusion to the thesis confirms the importance of materiality in the analysis of literary translations and how paratextual design has been used by each translator as an agent of cultural change.The appendix contains further contextual information for the three English translated editions discussed in this thesis, in three parts: bibliographical data, facsimile reproductions of the pages discussed for each edition, and textual data, including a comparative presentation of the three different renderings of Cantos I, XXIII and XXXIV.