Long lost, known through a period photograph found in its author's archive, the painting is included in 1995 in the general catalog raisonné of Vittore Grubicy edited by Sergio Rebora, a publication that makes it possible to make a fruitful comparison with the two versions already inventoried. in the Archives of Divisionism.

Ours, known as A Fiumelatte from the railway underpass, dated 1887 - 1910, differs from the twins due to the presence of the tunnel entrance, which builds an asymmetrical frame of dense shadow beyond which the limpid landscape is revealed, freeing the eye on the peaceful expanse of the lake to the opposite shore where the distant boats stand out white. The integration, of sure impact, is the result of an intervention following the first draft, which has enlarged the surface with three fabric inserts on the upper, lower and right sides, to include the structure of the arch and a larger portion of the lawn. down.

The practice of review and rectification is a peculiarity of Grubicy.

“Staring at a canvas or a drawing I drew years ago in the given place, after brief moments I can find myself in the same place and at the same moment in which I was first impressed; so that I do nothing but continue to copy what I had seen and traced years ago in that place ”, it is therefore not a question of overdoing it; but precisely to intensify; and the individual contributions are spontaneously inserted into the organism of the picture, because they are not additions but developments

In Fiumelatte from the Ferrovia underpass the rigorous simplicity of the composition, balanced by means of the happy agreement of the high horizon with the regular curve of the arch and the serpentine line of the slender green stem, is mitigated by the typical Grub Ician divisionism, which weaves a dense chromatic texture of minute brushstrokes able to shape an ethereal luminosity with rosy reflections. The form disintegrates into a dust-like vibration, and the view takes on the abstract consistency of a dream, of a memory that has survived oblivion. A village between Lierna and Varenna whose name derives from the stream that crosses it - as impetuous as a white waterfall - Fiumelatte is a place much loved by Grubicy.

The canvas belonged to Pompeo Rivalta, doctor of Grubicy, who is dedicated to the dedication on the front. As evidenced by the correspondence between the two from 1911 to 1920, the year of the painter's death, Grubicy is linked to Rivalta by a relationship of esteem and friendship, often crowned by the gift of works of art, his own and others, which progressively enrich the personal collection.