Like special nodes, we crossed two original horizontal short lines under the knees, just at the ½, to half the height of the quarter of square xylm, another to the xy, and a vertical one on the left shoulder, which results exactly covered by the line yΦ! and I can't see any other ref­er­ence for, if not the shoul­der joint (wrong to the right side on the original drawing).
However, this partition applies to both the arms, reciprocally mirrored inside a golden area by the trunk with it's own resulting golden area.

Whilst the golden ratio from each hand to the opposite shoulder is sym­met­ri­cal, occasionally, we should think, the other line to the shoul­der is out of place compared to the armpit; by the way, the single figure is not 100% regular, the square needed to be slightly en­larged in height (light­er area adjusted) as the sides were not aligned; perhaps the same paper may have shrunk in time, mainly the right lower side of the page, beyond the writ­ings; however Leonardo Da Vinci could not enjoy a CAD).

Now, we may not know if Leonardo Da Vinci took into account the Divine Pro­por­tion in his works, but these lines like some others which should mark the a­nat­o­my and the 4 squares and their portions, match the start and ending of a pro­cess that is revealing by now two main Gold­en ratio di­vi­sions: vertical and hor­i­zon­tal of the same square.

And that's not all. We can proceed to one more look into, to check how the com­mon central area between the yΦ, side of the square yΦml and the symmetrical one, taken inside the big square, holds now the golden rec­tan­gle [green] lmcΦ starting from the navel (we will ana­li­ze later a small dif­fer­ence, if true; since the real center of the ad­just­ed cir­cle is slightly lower than the consequent navel), which suit­a­bly sep­a­rates the chest from the head at its Φ height.

On the other hand, we are not necessarily investigating on the Vit­ruvian man, as much as on the Divine Proportion in the human body, what this eloquent figure invited us to do.