Beginning with the earliest evidence of Sidney’s poetic practices, the chapter analyses Samuel Woodforde’s transcription for evidence of interpretation and intervention, and demonstrates that contemporaries were fully cognizant of the models of authorship that the Psalter represents, and that editorial concerns over who wrote what, final versions and so on, are largely absent from these early assessments. The chapter then considers the movement of the Psalter into print in the early nineteenth century. I suggest that the materiality of the text is a key determinant of meaning within the text and that this is of particular interest in relation to Mary Sidney’s express commitment to formal and metrical experimentation in the Psalter.