The Kronian Period, aptly named for the greatest Emperor the Empyrean people have ever been blessed with and the one who brought about the start of the 'Golden Age', is probably one of the most influencial periods in Empyrean art, giving birth to such great artists such as Vasillius, Seraphimus, and Diogenus. Artists of this time period began portarying the beauty and perfection of the Empyrean form, though these images were somewhat stylized in their appearance. Very rare was it that an image portrayed an individual Empyrean, works of this period were images of perfection of the race, the beauty of all pure Empyreans.

Sculptors work primarily in stone for its durability. Limestone was popular with many artists because it was readily available, but the discovery of a vast marble mine in the mountainous region of Stygios in the early 1400s made the limestone less desirable and almost obsolete in the Empyre's greatest works, for the marble was more luminous when polished and a much better representative of the pale skin of the Empyreans. In the early part of the Kronian period many figures of this time were kept in close confines to the central mass of the stone, there was very little in the way of extended arms or wings from the figure. The figures indeed looked like columns. It was not until roughly the 1460's that the sculptors worked outward from the figure, separating the arms, legs and wings from the main torso. Hair was carved in equal sections, giving the appearance of small curls or braids flat against the head. Clothing too fell around the body with each fold identical to the one beside it. There was little hint of the form beneath the clothing in the early Kronian period, the art was more decorative than a realistic portrayal of one single form.

Potters worked with two types of clay for their vases, a pale grey that fired to an almost white and a darker terra-cotta orange. The later was easily aquired and so the former was more prized and used only by the greatest of craftsmen. The potters were usually employed by one or possibly two artists to create the vessels, the artists themselves would do all of the decoration of the piece. Most potters were realatively unknown, only a very few artists of this time acknowledged the potter as well in the craftmanship of the work and so many of their names have been lost.