Question: What facial features does the Mona Lisa have?
About the article "Leonardo da Vinci", section "Paintings of the 1500s".

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A group of Italian researchers has claimed that Salaì was the model for the "Mona Lisa", noting the similarity in some of the facial features, particularly the nose and mouth, to those in which Salai is thought to have been the model.
These claims have been disputed by the Louvre.
Also, it is commonly believed that Leonardo's death in 1519, Salaì inherited several paintings including the "Mona Lisa" as well as half a vineyard.
Through his estate, many of those works, notably the "Mona Lisa", passed into the possession of Francis I of France.
However, all personal belongings, paintings, drawings and notes were granted to Francesco Melzi by Leonardo's will.
A theory suggests paintings in Salai's possession were merely copies, done by Giacomo himself.
As a strong argument, a copy of "Mona Lisa" in Prado, Madrid, few copies of "Virgin and St Anne" and a copy of "St John the Baptist" in Milan are ascribed to Salai.  
In 2011, the Prado museum in Madrid, Spain, announced discovery of what may be the earliest known replica.
Miguel Falomir, heading the Department of Italian Renaissance Painting at the time of the discovery, stated the Prado "had no idea of (the painting's) significance" until a recent restoration.
Recovered from the Prado's vaults, the replica – which El Mundo newspaper dubbed ""Mona Lisa"'s twin" ("above, far right") – was reportedly painted simultaneously alongside Leonardo as he painted his own "Mona Lisa"; in the same studio, by a "key" student.
It was also painted on walnut, as was Leonardo's original.
The replica has been part of the Prado's collection since the museum's founding in 1819.
After restoration, the Prado's "Mona Lisa" revealed details covered by previous restorations and layers of varnish.
Furnishings and fabrics were enhanced, as well as landscape and facial features.
It is anticipated that such revelations may offer further insight into Leonardo's original.
Experts at the Louvre reportedly supported the Prado museum's findings.
The Prado replica was subsequently transported to the Louvre in 2012 to be displayed next to "Mona Lisa" as part of a temporary exhibition. 
Two nude paintings bearing similarities to Leonardo da Vinci's original were part of a 2009 exhibition of artwork inspired by "Mona Lisa".
Displayed at the Museo Ideale in Leonardo's hometown of Vinci, near Florence, some believe one of the paintings – dating from Leonardo's time – to be the work of Leonardo himself, and it has at times been credited to him.
Other experts theorize the painting, one of at least six known to exist, may be just another copy painted by "followers" of Leonardo.
Scholarly dispute persists as to artist, subject and origin.
The nude in question, discovered behind a wall in a private library, reportedly belonged to an uncle of Napoleon Bonaparte, who owned another of Leonardo's paintings.
Facial features bear only vague resemblance, but landscape, compositional and technical details correspond to those of the "Mona Lisa" known worldwide today.
A student and companion of Leonardo da Vinci known as Salaì painted one of the nude interpretations of "Mona Lisa" known, titled "Mona Vanna".
Salai's version is thought by some to have been "based on" the nude sometimes attributed to Leonardo, which is considered a lost work.
Discussion among experts exists as to whether Salai, known to have modeled for Leonardo, may in fact have been the sitter represented in the original "Mona Lisa".
Joos van Cleve, a Flemish artist active in the years following "Mona Lisa"'s creation, also painted a nude titled "Mona Vanna".
Though the figure portrayed in van Cleve's painting bears no resemblance to Leonardo's "Mona Lisa", the artist was known to mimic themes and techniques of Leonardo da Vinci, in this case the positioning of the figure and the delicate brushwork reminiscent of Leonardo's sfumato.
The artwork, dating to the mid-16th century, is in the collection of the National Gallery, Prague. 
Various alternatives to the traditional identification of the sitter have been proposed.
During the last years of his life, Leonardo spoke of a portrait "of a certain Florentine lady done from life at the request of the magnificent Giuliano de' Medici."
No evidence has been found that indicates a link between Lisa del Giocondo and Giuliano de' Medici, but then the comment could instead refer to one of the two other portraits of women executed by Leonardo.
A later anonymous statement created confusion when it linked the "Mona Lisa" to a portrait of Francesco del Giocondo himself, perhaps the origin of the controversial idea that it is the portrait of a man.
The artist Susan Dorothea White has interpreted the masculine proportions of Mona Lisa's cranial architecture in her anatomical artworks "Anatomy of a Smile: Mona's Bones" (2002) and "Mona Masticating" (2006).
Lillian Schwartz of Bell Labs suggests that the "Mona Lisa" is actually a self-portrait.
She supports this theory with the results of a digital analysis of the facial features of the woman in the painting and those of the famous possible self-portrait drawing by Leonardo.
When the drawing is reversed and then merged with an image of the "Mona Lisa" using a computer, the features of the faces align perfectly.
However, the drawing on which Schwartz based the comparison may not be a self-portrait.
For Sigmund Freud the famous half-smile was a recovered memory of Leonardo's mother.
In 1994 Leonardo's biographer Serge Bramly wrote, "there are about a dozen possible identifications of the sitter, all more or less defensible ...
Some people have suggested that there was no model at all, that Leonardo was painting an ideal woman.
"Maike Vogt-Lüerssen argues that the woman behind the famous smile is Isabella of Aragon, the Duchess of Milan.
Leonardo was the court painter for the Duke of Milan for 11 years.
The pattern on "Mona Lisa's" dark green dress, art critic Maike Vogt-Lüerssen believes, indicates that she was a member of the house of Sforza.
Her theory is that the "Mona Lisa" was the first official portrait of the new Duchess of Milan, which requires that it was painted in spring or summer 1489 (and not 1503).
In 2004, historian Giuseppe Pallanti published "Monna Lisa, Mulier Ingenua" (published in English as "Mona Lisa Revealed: The True Identity of Leonardo's Model").
The book gathered archival evidence in support of the traditional identification of the model as Lisa.
According to Pallanti, the evidence suggests that Leonardo's father was a friend of del Giocondo: "The portrait of "Mona Lisa", done when Lisa del Giocondo was aged about 24, was probably commissioned by Leonardo's father himself for his friends as he is known to have done on at least one other occasion."
In 2007, genealogist Domenico Savini identified the princesses Natalia and Irina Strozzi as descendants of Lisa del Giocondo.
Scan data obtained in 2004 suggested that the painting dated from around 1503 and commemorated the birth of the Giocondo's second son.
In 2011, art historian Silvano Vinceti claimed longtime apprentice (and possible male lover) to Leonardo, Gian Giacomo Caprotti, was the inspiration and figure for the painting.
In 2005 Heidelberg University academics discovered notes scribbled into the margins of a book by its owner in October 1503.
These notes state that Leonardo is working "on the head of Lisa del Giocondo".
This is seen by some as confirmation that a certain Lisa del Giocondo has been the sitter for the Mona Lisa.
However, these notes offer no description of the painting or drawing and could be attributed to any female portrait of that time.
In 2011, after the discovery of old documents that indicated that Lisa del Giocondo was buried beneath a convent in Florence, an excavation was performed.
On May 20, 2011, the skull and bones of a woman speculated to be Lisa were found. 
The "Isleworth Mona Lisa" is wider than the "Mona Lisa" in the Louvre, having columns on either side which also appear in some other versions.
The Louvre painting merely has the projecting bases of columns on either side, suggesting that the picture was originally framed by columns but was trimmed.
However, experts who examined the "Mona Lisa" in 2004–2005 stated that the original painting had not been trimmed.
The figure of the "Isleworth Mona Lisa" closely resembles that of the "Mona Lisa", being identically composed and lit.
However, the face of the "Isleworth Mona Lisa" appears younger, leading to speculation that it is an earlier version by the artist.
According to Pulitzer, multiple art experts agreed that the neck of the "Isleworth Mona Lisa" is inferior to the necks of other Leonardo subjects, suggesting that somebody else touched up the neck.
Several people Pulitzer consulted believed that the hands and face of the portrait were by Leonardo, but the rest may have been finished by another or others.
The background in the Isleworth painting is considerably less detailed than the background in the Louvre painting, causing many art experts cited in Pulitzer's book to suggest that if Leonardo did indeed paint the subject, it is likely somebody else painted the background.