Fjallskerðandi fjallskarð (Beguiling Gap in the Mountains)

A host marches north and through the Gap
And conquers and dominates and wanes
A troop fares south and through the Pass
And vanquishes and celebrates and passes
Empires of sun, empires of snow, empires of sand and of sea all -
All but trickles of water, flowing away, drying away,
Through the Gap.
And kneels and kneels again the tame, flat plain
Yet the Pass belongs to none
But those who pass, their eyes not set on what's beyond.

Une armée marche vers le nord à travers la Trouée
Et conquiert, et domine, et disparaît
Une troupe avance vers le sud à travers la Passe
Et vainc, et triomphe, et passe
Empires faits de soleil, ou de neige ou de sable, empires de mer tous -
Tous ne sont que filets d'eau, qui s'écoulent, qui s'épuisent,
À travers la Trouée.
Et la plate plaine servile s'agenouille encore et encore
Pourtant la Passe n'appartient
Qu'à ceux qui passent, sans regarder ce qui est au-delà.

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Blick in das Tal von Kreuth by Wilhelm Alexander Wolfgang von Kobell.

Some Escapist Partialism again (you'll notice how Escapist Partialism tends to be used with 19th century art - this one is from 1810). There seems to be no "main subject" here, but I wonder... what's this grey shape at the front ? It really looks like a giant man with a top hat. Perhaps it was intended.

It would call for a form of Frontground Wonderworking...

Stig fyrir stig (step for step)

To climb, to gaze, step for step...
The Tower. The Rooftop Bush.
To climb, to watch, step for step...
The Slippery Tiles.
To climb, to look out and away, step for step...
The Light-Punctured Forest of beams. The Cloud Kingdom.
Even without a throne, to climb is to be king.

* * *

Monter, observer, pas à pas...
La Tour. Le Buisson du Toit.
Monter, regarder, pas à pas...
Les Tuiles Glissantes.
Monter, embrasser les dehors lointains, pas à pas...
La Forêt Ajourée des poutres. Le Royaume des Nuages.
Même sans trône, monter c'est être roi.

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Ancient battles and christs are not the only ones that can be ignored. Plain factories have that right, too. Now we're headed for the 19th century, with Alfred Rethel's "Die Harkortsche Fabrik auf Burg Wetter". Again, it's from Commons.
One could argue that this is not true Marginalism, as there is no real "main subject" in this picture, and thus, no true margin. I cannot argue with that logic, but I would respond that this is Escapist Partialism, a sister ideology of Marginalism, a schism, if you will, in the great religion of Phantasmatic Deconstructionism and Minute Wonderworking.
You know a religion is good when at the third meeting, its founder announces that he has created a schismatic current distinct from his own, original mainstream. Adhere today.