On the other hand, we can say that the spiritual plot is om­ni­di­rec­tion­al, that is, it's round; it does not require a supporting ground be­cause it does not depend on the earth's gravity; its center, from which any of its points is equidistant, holds the gravitative principle, so to speak; and we are still identifying its relation to the human figure inscribed.

Since the square constitutes the only verified datum – despite being described 2nd in the ancient text –
in order to represent the synergistic connection between the two
planes, it is necessary to start
from the man standing, right
on his ground; and therefore
from its support base, since
the circumference cannot
extend below, while it can expand
as dem­on­strat­ed, above its natural height. From there, to center and trace the circle until now ac­k­nowl­edged, although not ascertained
in the function attributed to it.

This recalls, superficially, the Leonardo's interpretation;
but he imprisoned the man
in the material perimeter,
reducing the circle to a subordinate makeshift; so there would be well a question as to what was needed a cir­cle, that should not be re­ached from all directions. Let's rather com­plete with a shot of a few dancers, to their real poses as hu­man ex­pres­sions, that teach to our imagination and fit more than any conjecture.