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In 1829 he returned to Bologna. His mother had died in 1827, and he was anxious to be with his father. Arrangements for his subsequent return. to Paris on a new agreement were upset by the abdication of [[Charles X]] and the July Revolution of 1830. Rossini, who had been considering the subject of Faust for a new opera, returned, however, to Paris in the November of that year.
Six movements of his ''Stabat Mater'' were written in 1832 and the rest in 1839, the year of his father’s death, and the success of the work bears comparison with his achievements in opera; but his comparative silence during the period from 1832 to 1868 makes his biography appear almost like the narrative of two lives—the life of swift triumph, and the long life of seclusion, of which the biographers give us pictures in stories of the composer’s cynical wit, his speculations in fish culture, his mask of humility and indifference.
His first wife died in 1845, and political disturbances in the Romagna compelled him to leave Bologna in 1847, the year of his second marriage with Olympe Pelissier, who had sat to Vernet for his picture He was a foreign associate of the Institute, grand officer of the Legion of Honour, and the recipient of innumerable orders. In his compositions Rossini plagiarized even more freely from himself than from other musicians, and few of his operas are without such admixtures frankly introduced in the form of arias or overtures. A characteristic mannerism in his musical writing earned for him the nickname of “Monsieur Crescendo.” His music is associated with the names of the greatest singers in lyrical drama, such as Tamburini, Mario, Rubini, Delle Sedie, Albani, Grisi, Patti and Nilsson.
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