where is raphaels school of athens located
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.
The Victoria and Albert Museum in London has a rectangular version over 4 metres by 8 metres in size, painted on canvas, dated 1755 by Anton Raphael Mengs on display in the eastern Cast Court. 
The building is in the shape of a Greek cross, which some have suggested was intended to show a harmony between pagan philosophy and Christian theology  (see Christianity and Paganism and Christian philosophy). The architecture of the building was inspired by the work of Bramante, who, according to Vasari, helped Raphael with the architecture in the picture.  The resulting architecture was similar to the then new St. Peter’s Basilica. 
Raphael was in Florence when he received word that Pope Julius II, the same man who asked Michelangelo to paint the Sistine Ceiling, asked him to decorate apartments on the second floor of the Vatican Palace. He was hoping to outshine the Early Renaissance paintings his predecessor, Pope Alexander VI, had done in the Borgia Apartments, which sat directly below. It could be seen as a bold choice, as a young Raphael had never executed fresco works as complex as the commission would require. At that point, he’d mainly been known for his small portraits and religious paintings on wood, in addition to a few altarpieces. Some believe that his friend Bramante, who was the architect of St. Peter’s, recommended him for the job. They’d both grown up in Urbino and knew each other well.
The great mathematician and astronomer Ptolemy is right next to Euclid, with his back to the viewer. Wearing a yellow robe, he holds a terrestrial globe in his hand. It’s thought that the bearded man standing in front of him holding a celestial globe is the astronomer Zoroaster. Interestingly, the young man standing next to Zoroaster, peaking out at the viewer, is none other than Raphael himself. Incorporating this type of self-portrait is not unheard of at the time, though it was a bold move for the artist to incorporate his likeness into a work of such intellectual complexity.
From the right hand side particularly, the School of Athens invites the viewer to see another strong pair of diagonals starting from the extreme lower corners of the picture. Along these diagonals the heads of the Gods line up with their opposite philosophical heads (i. e. Apollo with Aristotle and vice versa). Therefore the dialectical interplay of ideas and reconciliation between the two philosophies goes on.
School of Athens
Heraclitus in front of the Vitruvius Man, 500 years anniversary of the Columbus Voyage
Protogenes was Greek painter and a rival of Apelles.