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Both artists have obviously been greatly influenced by both classical and christian values.
During the Dark Ages, artists were more inclined to draw/paint in halos to show the holy figures within the painting whereas Renaissance paintings didn't carry on this idea of showing the holy figures, showing the humanism of progression of man

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In Raphael's work it's very vibrant, the colours stand out and draw in your attention, he uses reds, golds, yellows etc. Where as Michelangelo uses more muted colours, blues, whites, greens etc. In Raphael's work there is more a feeling of 3Dness because of the building that he has in the background of the 'school of athens' and the way he has placed things (high ground, foreground etc.) in 'the dispute'. Where as Michelangelo eveythings quite flat, the people and they way they are painted look real with the shading of the muscles. In the 'school of athens' Plato (in red) is known for theoretical and is pointing to the sky - the gods- where as Aristotle (in blue) is known for observable and his palm is down as though pointing to the earth and the here and now. The colours that they are wearing also symbolises this - red = fire and air and blue = water and the earth. In Michelangelo's "The last judgement" it has a lot of biblical figures, where as in Raphael's "School of Athens" which has more achedemicly known people - this changes the perspective of the artworks and who they are for. Michelangelo incorporates both christch and classical values into his artworks whereas Rapheal tends to just use one or the other, for example "School of Athens" is more classical and "The Dispute" is christen imagery and values and there arn't many of any references to classical values within it.

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The Disputa (also called The Disputation of the Most Holy Sacrament) represents the branch of knowledge of theology. The Disputa has Father, Jesus, and the Holy Spirit (represented with a dove), the Holy Trinity, lined in the centre above the Eucharist. Around Jesus are the Virgin Mary and John the Baptist. The other figures in the painting are saints and angels (in Heaven), below which are (on earth) Popes, Cardinals, Bishops, and medieval poet Dante. Raphael created careful layers of Heaven and earth, where the Eucharist joins them, just like it does in Catholic tradition as the Body and Blood of Christ. He paints in architecture which gives the illusion of depth. The figures all interact beautifully which makes the painting feel alive. His use of colour adds to this, with relatively vibrant reds and blues and golds. The gold is important, adding a richness to this fresco which depicts God. It adds to the holiness and reverence in the image.
The School of Athens depicts philosophy, which at this time contained the modern sciences. The School of Athens is a large fresco where Plato and Aristotle are in the centre, surrounded by other great philosophers, thinkers, and mathematicians from the ancient world. These figures are interacting and the fresco feels alive. This image is interesting as all of the figures are pagan, yet are within the Catholic Church. This image has deeper colours, which place it firmly on earth. Once again the painted in architecture adds depth.

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The Creation of Adam sits on the ceiling of the Sistine Chapel, where the Pope led mass, and remains the place the College of Cardinals chose the next Pope. The importance of the location of this (and the Last Judgement) can't be under estimated. The Creation of Adam is a very famous image that fits within 9 scenes from the the Book of Genesis on the ceiling of the Sistine Chapel. The colour is very light, it feels heavenly and optimistic. The way Adam and God the Father reach for each other but don't touch is so beautiful. Adam was created to look as if this is what God considered to be perfection, the way He made His first human.
The Last Judgement  quite different to this and also is in the Sistine Chapel, on the altar wall. This was done more the twenty years following the frescos on the ceiling, and done during the Protestant Reformation. This is painted from the Book of Revelations. Christ is in the top centre, where your attention is immediately drawn, and to the side of Him sits the Virgin Mary. To His sides also sit many Biblical figures and saints. Below Him, the Blessed and the Damned are separated, with the Blessed on the left (Christ’s right) and the Damned on the left (Christ’s left). Christ has His arm towards the damned and commonly it is thought that he is smiting them. I see more caring in this, but I am biased.These figures have enormous weight, and the Blessed are often physically lifted up by angels, two figures clinging to a Rosary. The Damned try to go up, but are dragged down by demons and pushed away by angels. All the figures in this painting are distorted. They lack some of the elegance and realness of the frescos on the ceiling. Their bodies are too big, their heads too small. This painting caused caused some controversy at the time. Shortly after Michelangelo’s death, shrouds and clothing was put on the formerly bare figures. Christ is also painted without a beard, which is uncommon. And the angels are male and wingless. Pessimism is throughout this painting.

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the idea of cosmology with heaven and hell on either side surrounding christ (the sun) rather than heaven at the top and hell at the bottom

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philosophers, one points up to the things unseen, wears colours symbolising fire and air one has his hand down like focusing on the things seen colours symbolise earth and water.  balance on either side