Schubert had problems absorbing from Beethoven because Schubert's mentor, Antonio Salieri, believed that everything Beethoven had written after the Second Symphony was a waste of music paper. It was only after Salieri's death in 1825 that Schubert plunged headfirst into Beethoven's music. The dactylic rhythm of the second movement of Beethoven's Seventh Symphony shows up constantly in his songs after this time. The monument to Beethoven was the E-flat Piano Trio. Had Beethoven been able to hear that, he would have patted Schubert on the back.
The last homage to Rossini is in the rondo finale of the G Major String Quartet. One of the more ingratiating themes is derived from the "Factotum" aria in "The Barber of Seville". By this time, Schubert understood that Rossini was like a fine spice. You add a little to a piece, not base the entire piece on it.
Ever hear Rossini’s Sabat Mater? It was written after he had stopped writing operas. It’s a very nice piece. He was a much better all-around composer then either Donzietti or Bellini.