Although Leonardo da Vinci's 'Vitruvian Man' is surmised to il­lus­trate the Golden ratio, I have not seen many progressions (except my own note on my book in 2002 – see also the symbol plate at; for some seek­ers it looks not to have been intended to do that, neither the golden pro­por­tion is men­tioned in the original script.

But let's get to it.

First of all, to resize the square to a real square and normalize the cir­cum­fer­ence, the whole drawing had to be remodeled in a few steps: referring the square to the left upper corner, then the circle to the feet.
Tap the lighter area of the next plate to check how the man's figure has changed; it may be relevant for such research. Click to view/download the wide size PDF for the Da Vinci Vitruvian linear Golden Sections 19-20Mb). Truly, the man's natural proportions in this drawing, by which Vitruvio brings the ideal man (microcosm) back to the geometry of the cir­cum­fer­ence – the spiritual Source symbol – and of the square – the Matter – (and not the masculine-feminine, that has nothing to do) do help us, both through the square and the circle.

To ease an immediate interpretation of my assumptions, given the hand made drawing of the subject, I will replace numerical details with the more intuitive, not less efficient graphics tracks, that can be moved and resized to be recycled in order to replay true graphic proportions.
Basically, by the use of exact squares/rectangles; then through the four gold­en circles' expansion map, disclosed for the Great Golden Triangle.
Furthermore, even if the right and left sides of every human body are al­ways somehow asymmetric, to give a more realistic significance to the mod­el, I choosed to superimpose a mirrored 50% transparent image onto the body, in order to guarantee the best balance of the design.
Whilst for the body's positioning the lower half is strongly affected, less important though, the square and circle are not com­pro­mised, being regular, and their adjustment is kept exact.