History Behind Details of Grand Central Not to Be Overlooked

Commuters who rush through Grand Central Terminal daily might overlook the buildings unique features.
History Behind Details of Grand Central Not to Be Overlooked
GRAND INDEED: The south facade of Grand Central Terminal along 42nd St. is a splendid example of the Beaux-Art classical architectural style. (Helena Zhu The Epoch Times)
9/2/2008
Updated:
10/1/2015
<a><img src="https://www.theepochtimes.com/assets/uploads/2015/09/GC.jpg" alt="GRAND INDEED: The south facade of Grand Central Terminal along 42nd St. is a splendid example of the Beaux-Art classical architectural style. (Helena Zhu The Epoch Times)" title="GRAND INDEED: The south facade of Grand Central Terminal along 42nd St. is a splendid example of the Beaux-Art classical architectural style. (Helena Zhu The Epoch Times)" width="320" class="size-medium wp-image-1833810"/></a>
GRAND INDEED: The south facade of Grand Central Terminal along 42nd St. is a splendid example of the Beaux-Art classical architectural style. (Helena Zhu The Epoch Times)

Commuters who shift through the hustle and bustle of Grand Central Terminal daily might overlook features of the landmark building from the early 1900s that attracts visitors from around the world.

From the decoration under the handrails and the painting that adorns the concourse ceiling to other aspects of the station’s architecture, details that usually warrant no more than a passing glance have colorful histories waiting to be discovered.

Grand Central Terminal was first constructed as a train depot and rail yard in 1869 after Cornelius Vanderbilt acquired most of the railroads passing through New York. The terminal, which serves as both the starting and ending points for the Metro North railroad, opened in 1913 and underwent major renovation in the mid-1990s.

Taking the time to tour Grand Central as a historical landmark will bring to notice the many elements of Grand Central that makes it such an icon.

Exterior

Grand Central is constructed and decorated in the Beaux-art classical architectural style that features balanced symmetry and a hierarchy of spaces from grand structures to utilitarian ones.

Outside the terminal overlooking 42nd Street sits a sculpture created by French artist Jules-Alexis Coutan titled “Transportation.” The 1,500-ton sculpture on top of the building features the Roman god of speed and commerce—Mercury—surrounded by Minerva, the goddess of wisdom, and Hercules, the god of physical strength.

The sculpture was to symbolize the many things that the terminal was meant to accomplish.

The clock located below “Transportation” is made of the largest Tiffany glass in the world. The circular hour mark for the number 6 has a slightly different color, with a bit of a pink tinge. This glass actually marks the existence of a window that workers can open and observe 42nd Street.

Main Concourse

The Main Concourse, a cavernous space usually filled with bustling crowds, marks the center of Grand Central. The floors are paved with Tennessee marble, and the walls are covered with a warm buff-colored stone with trimmings of cream-colored Botticino marble.

The north and south walls are lined with ticket booths, and the main information booth stands in the center of the concourse.

The four-faced clock that sits atop the information booth is a recognizable fixture of the terminal. What hasty passersby might no know is that all four faces of the brass clock are made of solid opal. Sotheby’s and Christie’s estimate the whole timepiece to be valued at somewhere between $10 million and $20 million.

Although Grand Central was built in the Beaux-art style back in 1913, the Main Concourse only consisted of one staircase; there are now two identical staircases. The West Staircase was built first.

Back in 1913, there were no attractions on the East Side of Manhattan to warrant the construction of an East Staircase. That area had mostly factories, breweries, and slaughterhouses. The new staircase was built a decade short of a century later during renovation in the 1990s.

The area that the East Staircase occupies used to be the luggage area. The East Staircase is made of the same marble as the west one, but upon closer inspection the decorations under the railings of the West Staircase feature the Vanderbilt family crest of acorn and oak leaves that is prevalent throughout the terminal.

In contrast, the East Staircase is a few inches narrower and does not feature the acorn and oak leaf Vanderbilt design.

The ceiling of the Main Concourse displays an astronomical painting of the Mediterranean sky complete with 2,500 stars, the largest 60 of which are illuminated by fiber optics. Before the widespread use of fiber optics, 40-watt light bulbs were used to illuminate the constellations.

Another tidbit about the ceiling concerns a visible circular hole above the East Staircase area. During the 1950s, America underwent a Red Scare fueled by insecurities after the Soviet Union launched Sputnik.

“When they assembled the Red Stone rocket here, it was on its side,” said tour guide Marty Apter, who delivers witty explanations throughout the guided Grand Central Tours. “In order to get it standing upright, you need 127 feet of height. Anybody remember how tall the ceiling is? 125 feet, hence the hole.”

Tours through Grand Central Terminal and the surrounding neighborhood are offered every Wednesday and Friday.

If two hours is difficult to work into those busy schedules that have commuters ignoring the historical features in the first place, one can always scour the terminal independently.

“Any unlocked door is merely an invitation,” said Apter.