The Apollonic period is named for one of the greatest Archmages the Empyre has known, Apollo. Now considered a god, Apollo was responsible for the formation of the Delphi in Haven in 1618 and for the raising of the Empyreal city Civitas Dei into the clouds in 1647. Artists were lured to this new city in the clouds for the wealth of opportunities presented by those of high stature that lived in the city. While there were many artists who kept their own studios, the practice of the noble houses acting as benefactors for specific artists became quite popular at this time. Houses would employ an artist who would create works for the members of that house and there came a time when it was rare to find a noble house that did not have its own artist.

Sculptors worked with architects to decorate the many buildings that filled the city, supplying both private villa and public structures with elaborate friezes and detailed sculptural works. Images of the gods and heros of the Empyrean people were seen everywhere, carved from stone and cast in bronze. The images created at the hands of the Empyre's finest craftsmen were exquisite, the work becoming more lifelike in every detail. Artists had begun an ardent study of the Empyrean anatomy so that the figures created looked as if they would take a breath the instant the viewer turned away. Grace is evident in almost every work of note as is the feel of movement in the figure. A moment in time has been captured in such works rather than a stiff portrait. The figures extended from the main weight of the torso, arms reach out toward the observer or wings stretch gloriously as if ready to take flight.

Painters were also drawn to the Celestial City, turning from simple vase decoration to large murals depicting a myriad of Empyrean events. Private homes displayed serene images to accompany their life of luxury while public gathering halls held images of great battles or of historic figures, each demonstrating the strength that surrounded the Empyre. The use of shading say its greatest advancement in this period as a variety of color became available, something that was limited in vase painting of earlier periods. The walls were filled with full rich tones to bring the images to life. Artists began to experiment with creating images that appeared to be three dimensional, but this was not truly perfected until the Ourianios period.