sections, which indicated the locations of steel columns in the building's superstructure. The southern portion of the building extended about back from 42nd Street and was taller than the northern portion. This increased the amount of rentable space, since the southern part of the site was wider. The plate glass used in the building weighed . The first three stories were elaborately decorated and were clad entirely in cream-colored Indiana limestone, a material chosen for its durability. There were elaborately carved doorways on both Broadway and Seventh Avenue, as well as a horizontal band course of limestone above the third story. Some of the decoration on the lower levels was made of iron, including the ground-floor windows. The windows at the base were smaller than they normally would have been, thereby giving the impression of massiveness. The 4th through 12th stories, comprising the shaft, contained little decoration. These stories were clad in cream-colored brick, which was glazed to resemble the terracotta on the rest of the facade. The upper stories contained extremely ornate terracotta details such as brackets and cornices. There were ornamental ironwork window frames above the 12th story. Above the 16th story, the roof of the northern section was made of wire glass. The trapezoidal "tower" above the southern half of the building was designed to resemble a square campanile. Each elevation of this tower contained one arched window flanked by smaller, single windows. Critics compared the tower's detail to that of Giotto's Campanile in Florence. Arthur G. Bein of American Architect magazine said: "The architect has been free to reproduce almost exactly Giotto's great machicolated cornice with perforated parapet above." Each corner of the tower contained projecting piers, designed in a manner that resembled turrets. Originally, Eidlitz had planned to build a dome atop the southern part of the building, but he scrapped these plans because of the difficulty in placing a circular dome above an irregular trapezoidal massing. In 1965, the building's original facade was replaced with 420 concrete and marble panels. Each panel was made of a layer of precast concrete covered with a layer of white Vermont marble. Twenty of these panels measured and the other 400 panels measured . The rear of each panel was anchored to the building's superstructure. Progressive Architecture magazine criticized the renovation as "a face-lifting job of thorough-going blandness". All four elevations of the facade were covered with billboards