My fellow interns and I are studying Howard Thain’s painting, Grand Central Terminal, for our research project with the New-York Historical Society. I am specifically focusing on how the people’s reaction to the development of the terminal foreshadowed consumerism and fascination with luxury that occurred in the 1920s. Long before the opening of the terminal on February 1st, 1913, people of New York City had been waiting for the completion of the construction. The Grand Central Depot was the train system that had existed before the terminal up until a tragic train crash occurred in 1902. This meant that the city was in need of a new, more effective and convenient train system, and so immediately the construction for Grand Central Terminal began. Having heard of this new and much more advanced terminal, many people crowded for the opening of the terminal at midnight of February 1st. Several newspaper articles reporting the grand opening praised the beauty of the terminal, calling it “terminal city,” or “a city within a city.” One New York Times article reported that between the midnight opening and 7pm of that day, more than 150,000 people – from Manhattan, Brooklyn, Bronx, and outside of New York City – went to the terminal. By 4 o’ clock, the terminal was “so crowded that persons found difficulty in moving.” Not everyone at the terminal came to board on a train. Rather, most were only there to visit and were amazed by the splendors of the terminal, particularly the ceiling of the center of the terminal, where, illuminated by electricity, 2,500 “stars” mark about 63 signs and constellations. A railway official noted, “Fortunately there are no seats in the concourse… or I would fear that some passengers might miss their trains, while contemplating this starry picture.” Whether traveling or only visiting, the general consensus was that everyone was amazed by the beauty of the great Grand Central Terminal.