Schmitt provides an interesting and original analysis of Romanticism. However, our interest is not in his historical accuracy, which can be questioned, but in the fact that Schmitt indirectly provides insight into our bourgeois world.
The romantic (bourgeois) ego represents one (not the only one!) outcome of the process of secularization begun in the XVII century with the ascent of the bourgeoisie, the scientific revolution, and the crisis of religion.
To understand the peculiar variety of secularization embedded in the romantic ego, it may help to consider the role traditionally played by God. God was viewed as the source of value and being. It is because of God's existence that there is an intrinsic value structure to the world (remember Crimes and Misdemeanors ). Furthermore, the existence of creatures totally depends on that of God. Romanticism places the emancipated bourgeois individual in God's place: the self becomes both the source and the necessary condition of value and, in a sense we shall consider momentarily, of being. In short, secularization has made possible romanticism as a rampant form of subjectivism. Of course, secularization is not the only necessary condition, since the centrality of the individual, at least on a large scale, requires the liberalism of western democracies which, at least rhetorically, guarantee liberty in Mill's sense, namely, a sphere of autonomy in which the sovereignty of the individual is unchallenged.  Nor is it clear what the sufficient condition for aestheticism are.
Following our reading's lead, we can try to understand the nature of this form of subjectivism by considering some of its basic features.

• Ontological Aestheticism

Events per se have no significance even when considered in their relation with other events.  Rather,
• Events have value and significance only insofar as they provide the raw material for the subject's experiences, passions and emotions, which in turn are evaluated on the basis of a subjective value scale. (Think of Johannes the Seducer). Of course, such subjectivism doesn't entail originality or sophistication: the value scale may be, and often is, the result of societal manipulation and may be quite crass.
• Events  exist only insofar as they are viewed through the conceptual apparatus of the individual: facts become theory laden in the sense that their importance (their being noticed) and interpretation (their meaning and significance) depend on the outlook of the subject, and therefore are colored by the individual's experiences, passions, and emotions. Think of Sartre's example of the would be Jesuit as an illustration or of how Kalinkikar Roy interprets the death of his nephew in Devi.
But of course my experiences, passions, and emotions are mine and mine only. Hence, ontological aestheticism is a form of narcissism which is total with respect to values (I make my values system and events have meaning only insofar as they provide the material for my experiences), and almost total with respect to the importance and interpretation of facts (they are theory laden, and my view of the world is mine). So, the real subject of interest for the romantic self is the self itself.
• Irony but no Self-Irony

Since the romantic is a narcissist, he has no difficulty in viewing the world with detachment, and therefore is able to look at it ironically. The world, including people, is just raw material to be molded and played with to generate the desired experiences and moods. Furthermore, since ontological aestheticism makes facts very malleable the line between the imaginary and the real is blurred, and "the real" can always be chosen to be that which generates the appropriate emotions. However, romantic irony has a limit: it cannot extend to self-irony.  For, self-irony involves self-detachment; but self-detachment entails viewing oneself through another's eyes, and consequently potentially subjecting oneself to another's value scale, thus destroying the absolute primacy of the self. (For example, think of Scottie in Vertigo).  The romantic takes himself with deadly seriousness; he is, one might say, obsessed with himself.
• Poeticization

Narcissism, combined with the view that the world is just raw material for the subject's experiences entails that all spheres of life, e.g., science, religion, ethics, politics, are reduced to the sphere of experiences, emotion, and affects.  This phenomenon can be characterized as 'poeticization.' The 'greatest' historical event may be viewed as insignificant, or not even appear above the subject's ontological horizon, while the smell of puff pastry, or the flying patterns of a sheet of paper blown by the wind, may acquire the greatest significance and provide the starting point for a whole novel about one's feelings and emotions (the only things that matter). Ethical relations among people are similarly reduced to aesthetic ones, since people too are just occasions for one's experiences.  As a result, morality is voided of its peculiar normative content, reduced to cultural practices, and viewed as both an obstacle and an opportunity in the play of one's experiences and emotions.  What ought to be morally shocking may become aesthetically pleasing, be it the 'nintendo' wars with precision bombs, or the spread of red blood on a kitchen counter in American Beauty.  Religion becomes 'cafeteria' religion, a source of self-growth and valued experiences, a kind of spiritual hormone to be bought at the religious supermarket provided by mass media, where different religious groups sell their goods.