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Between the sixteenth and the seventeenth century, English poets and writers started to imitate the Italian ones. Hallam seems to agree that the modulation becomes sweeter in order to sound better and more melodic. During the Stuart period, more and more writers started to imitate the Italian ones. Cowley's poems imitated the Italian conceits, but also Marvell and Dryden did. Crayshaw transalted Marini's "Strage degli Innocenti", Herrick did a reproduction of Italian sentiments, but he regretted it.
Marvell is really attracted by the graceful form of Italian poetry, but on the other hand he condemns its ungracious licentiousness.
There were two kinds of Italian poetry which were imitated. The Metaphysical one was adopted by Donne, Lovelace, Crayshaw, Herrick, Herbert and so on, it was a school of writers and it was the decline of the Elizabethan poetry.
The other one derived straight from Marini, they imitated its chief features (whimsical comparisons, abundance of antithesis, concetti and pompous descriptions). Crayshaw was the main English marinist.
(Selina Hazizolli)
Another genre who has to be mentonied is Emblem, that inspired many writers, such as Francis Quarles.
Their example was Andrea Alciati (1492-1550), who wrote a work in latin entitled "Emblems".
It had such a great fame that it was soon translated into French and Italian and it didn't inspire only English writers but also Spanish ones, such as Juan de Horzco (1540-1610).
The italian litterarure has influenced not only the courtly world, but also the country world as we can see in the work of sir. Sidney (1554-1586) who devoted himself to give to England a poetry that was similar to Sanazzaro' s one. In fact, the Pastoral started to propagate at the napolitan's court in 1502 with the appearance of "Arcadia" by Jacopo Sannazzaro.
There were many english writers, who started to be inspired by this genre and the most imporant examples are Lyly in his “Gallathea“, Green in his “Morando“, Lodge in his “Rosalynde” and “The Sheperd’s Kalendar” written by Spenser.
A fresh impetus was given by the appearance of two other Italian models “Aminta” by Tasso (1581)  e “Pastor Fido”  by Guarini (1585). The imitations were countless and if on one hand many works didn’t have a huge success, on the other hand, in this period, writers as Fletcher ”Faithful shepherdess“, Milton “Comus“, Marvel “Thyrsis and Dorinda" and Whither “Sheperd’s hunting” reached a style, which had never been equalled in english language before.
(Cosimo D'Annunzio)
At Wither's time was established an Accademy, which was meant to dictate the good and the bad poetry and to prescibe regulations for all kinds of compositions.
It was considered necessary for the Italian poet conforming to rule and so his fight of fancy was confined to lines fixed by others.
Also in France and in England were respectively founded an Accademy (1636) and a similar society by Milton. The Earl of Roscommon formed a plan for "refining our language and fixing its standards", but it never came up to anything. Probably, what most distingueshes the English poets of these centuries from the Italian ones, is the indipendence.
The English poets are not fettered by these restrictions.
So let Itlay be the home of simmetry, correctness and sweet melody, and England the home of kindly strengh and fancy.
(Francesca Albertini)

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Albertini - D'Annunzio - Hazizolli

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Link to the padlet for the first three groups

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Gozzi - Posenato - Sartori

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Del Grosso - Betti

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Noseda - Paolini - Tosi