1.	We immediately know that the two men in the middle of this piece should be the focal point of our attention. The two men are debating the metaphysical reality of the world – Plato on the left arguing for a world of Forms which transcend our material existence (signified by his pointing to the cosmos) and Aristotle who argues that material things are all that exists, signified by his gesturing toward the ground. Raphael draws our attention to the importance of this debate by presenting a crowd of philosophers and admirers surrounding them, but giving enough space on either side of the pair to signify their importance by partially isolating them. They are also emphasized by the natural framing of the geometric arc and the negative space present there. Red and blue are complimentary colors which offer a natural contrast to again draw our attention to the center. The two philosophers are also accented discreetly by an implied V or M shape within the negative space between their two heads. 
2.	The sky in back of Plato and Aristotle has been left intentionally light detailed with barely a difference in contrast between the light blue and whites to again request our attention to the two at the center. Under Plato and Aristotle is another negative space which leads our eyes to the next two noteworthy figures: Diogenes of Sinope, the cynic philosopher and Michelangelo, sculptor, painter, Renaissance architect and poet. Diogenes is leisurely sprawled out to indicate his distaste for formalities, affluence and displays of importance. He is emphasized by the negative space surrounding him, his awkward position and the two men pointing to him in shock as to ask him why he isn’t standing at attention as the school’s most well known philosophers approach him. 
3.	While Aristotle may be pointing at the ground to symbolize his belief in only material things, Diogenes has become part of it to symbolize his nihilistic, modest worldview, by his physical positioning and also the lack of a real contrast between his clothes and the marble floor. Examining Diogenes we can discuss Raphael’s methods. His hair’s nappy nature is achieved by a series of soft lines. This is different than the depiction of Plato’s finely combed beard which was accomplished by hard lines. He is separated from the surrounding marble by dark contour lines. While Aristotle’s tunic and clothe seem to have some fine details to them, Diogenes’ toga is wrinkled and unorderly (Almost chaotic), having no apparent rhythm or repetition. This was done, again, to emphasize his distaste for fanciness, superficiality and appearances. 
4.	Now lets discuss the scene in general. It has symmetrical balance. Raphael achieves variety by having many interesting people to look at, but they do not distract from the overall unity of the piece. While there is a group in the corner performing some sort of mathematical calculation on a piece of blackboard they do not disrupt the attention from the center and our secondary, discreetly subordinated characters: Diogenes and Machiangelo. Machiangelo is an exception to the sense of unity because he is wearing contemporary clothing to that of the Greeks surrounding him. This was done intentionally to honor him by presenting him in a fashion most honest to himself. Even Raphael and his concubine Magherite who make discreet appearances in this piece are dressed in the greek fashion so as to show Raphael’s elevation of Machiangelo above himself, to honor him after Raphael was greatly impressed by Machiangelo’s work on the Sistine chapel.