“The beauty of speed”. This was one of the points on the manifesto of futurism. One could spend a lot of time discussing the political and cultural implications of a movement that was the innovator of some points and the contradiction of others, but one aspect, however, can be agreed upon. The world was changing. Much was said about modernity, avant-garde and painting just as the cinema had tried to portray it on several occasions. The dynamism of new means of transport such as the car, always fascinated twentieth-century artists. The car, and, more than anything else, the train, were objects on which they often focused to represent the idea of movement on canvas. One only has to think of the locomotive pulling into the station at La Ciotat, one of the Lumiere brothers’ first actions, which officially led to the birth of the cinema. That silver-coloured steam train depicted in that short film is no longer the same. It has grown up, adapting to modern times. And not only in shape. What is especially different is the energy it uses which is no longer coal (or diesel). It is now electricity which, thanks to latest generation models, allows us to travel from Milan to Rome in under three hours.