where did raphael paint the school of athens
Stanza della Segnatura
The School of Athens fresco was an immediate success, with none of the reservations which greeted the completion of Michelangelo’s Genesis Fresco on the ceiling of the Sistine Chapel. Its pictorial concept, formal beauty and thematic unity were universally appreciated, by the Papal authorities and other artists, as well as patrons and art collectors. It ranks alongside Leonardo’s Mona Lisa and The Last Supper, and Michelangelo’s Vatican frescoes, as the embodiment of Renaissance ideals of the early cinquecento.
Finally, according to Giorgio Vasari, the scene includes Raphael himself, the Duke of Mantua, Zoroaster and some Evangelists. 
The identities of some of the philosophers in the picture, such as Plato and Aristotle, are certain. Beyond that, identifications of Raphael’s figures have always been hypothetical. To complicate matters, beginning from Vasari’s efforts, some have received multiple identifications, not only as ancients but also as figures contemporary with Raphael. Vasari mentions portraits of the young Federico II Gonzaga, Duke of Mantua, leaning over Bramante with his hands raised near the bottom right, and Raphael himself. 
One of the most striking figures in the composition is a brooding man seated in the foreground, hand on his head in a classic “thinker” position. This figure doesn’t show up in Raphael’s preliminary drawings and plaster analysis shows that it was added later. Art historians Roger Jones and Nicholas Penny write in their book Raphael that it “is probably Raphael’s first attempt to appropriate some of the heavyweight power of Michelangelo’s Sistine Prophets and sibyls.”
To the left of Plato, Socrates is recognizable thanks to his distinct features. It’s said that Raphael was able to use an ancient portrait bust of the philosopher as his guide. He’s also identified by his hand gesture, as pointed out by Giorgio Vasari in Lives of the Artists. “Even the Manner of Reasoning of Socrates is Express’d: he holds the Fore-finger of his left hand between that, and the Thumb of his Right, and seems as if he was saying You grant me This and This.”
The boldly colored fresco was painted by Raphael and his assistants, and is set just above eye level. The cartoon, however, was drawn by Raphael alone, and the new layout of the room that houses it — now placed inside a state-of-the-art vitrine with nonreflective glass — lets visitors get up close, enough to detect individual charcoal strokes and shading.
Monsignor Rocca said that Cardinal Borromeo, the Pinacoteca’s founder, accused the people of Milan of “spending all their money on dogs and horses: motorcycles and Ferraris in today’s world.” But the restoration — financed by Ramo, the company of Giuseppe Rabolini, an art collector and entrepreneur who died in August 2018 — disproves that criticism, he said.
There are 50 figures in total painted within the School of Athens. Each figure is a philosopher of some kind which each figure on the left (Plato’s right) representing Plato’s theories on philosophy while on the right (Aristotle’s left) they represent Aristotle’s theories on philosophy. The painted architecture that the figures are working in is said to be based on the original designs Donato Bramante was working on for the rebuilding of St. Peter’s Basilica.
A likeness of Donato Bramante is also in the School Of Athens as Euclid who is situated on the right bottom side of the fresco, bent over showing eager students a theorem. Raphael even painted in a self-portrait. He is the very young-looking man looking directly at us looking over his left shoulder in a black cap on the very far right.