This way reminds the vitruvian mo­de of defining the cir­cum­fer­ence first, thence the square as if it were to re­flect its main properties: a pathway that will become the main theme, if not the goal of this im­por­tant re­con­struc­tion, leading to the ultimate true design of the “homo bene figuratus”.

It's also to behold that while the un­con­scious pul­sa­tions function is re­lat­ed to the circumference' golden map, it is the 2nd and 3rd circles of the circumference map inscribed in the square to match the con­scious bre­ath, as well as the 4th one the bones structure at the shoul­ders level, like­ly the most complex and important ar­tic­u­la­tion of the body.

Far from being a strain, this adaptation corrects obvious im­per­fec­tions, besides the positioning of the navel, the better heart and car­dio­vas­cu­lar center, the 2nd Golden Circle now tangent to the square, visually high­light­ing the relationship between the cir­cum­fer­ence and the square.

As I have implied, It has been likely a deeply instinctive research by the Golden Section lovers, this Ratio between the two basic frames; but it could never succeed so far, for the simple reason that the cir­cum­fer­ence drawn by Leonardo was wrong, being forced to delimit his imaginary fig­ure, in turn altered for the purpose.
At the same time, you could observe that many fig­u­res of the first half of this issue sho­uld be adjusted after the new in­sights of this further elab­o­ra­tion; but I pre­ferred to leave them to record the full path as the pro­fuse com­mit­ment in this research, subject to an ongoing examination of un­reached rules.

Just a detali: in the image of the heart [PDF 12Mb] the blood red area appears cu­ri­ous­ly enough framed in a dark shaded halo, which forms nothing less than the popular pro­file of the hearts, from playing cards to val­en­tines, graciously different from the actual muscular organ. This solution was neither artificial nor obtained on pur­pose, but the re­sult of an automatic treatment of the cardiovascular center image, after some steps to adapt its saturation and contrast.