Three clearly differentiated schools now (1875) came into existence. One, headed by Namikawa Yasuyuki of Kioto, took for its objects the utmost delicacy and perfection of technique, richness of decoration, purity of design and harmony of colour. The thin clumsily-shaped vases of the Kaji school, with their uniformly distributed decoration of diapers, scrolls and arabesques in comparatively dull colours, ceased altogether to be produced, their place being taken by graceful specimens, technically flawless, and carrying designs not only free from stiffness, but also executed in colours at once rich and soft. This school may be subdivided, Kioto representing one branch, Nagoya, Tokyo and Yokohama the other. In the products of the Kioto branch the decoration generally covered the whole surface of the piece; in the products of the other branch the artist aimed rather at pictorial effect, placing the design in a monochromatic field of low tone. It is plain that such a method as the latter implies great command of coloured pastes, and, indeed, no feature of the manufacture is more conspicuous than the progress made during the period 1880-1900 in compounding and firing vitrifiable enamels. Many excellent examples of cloisonné enamel have been produced by each branch of this school. There has been nothing like them in any other country, and they stand at an immeasurable distance above the works of the early Owari school represented by Kaji Tsunekichi and his pupils and colleagues. Cloisonless Enamels. The second of the modern schools is headed by Namikawa Sosuke of Tokyo. It is an easily traced outgrowth of the second branch of the first school just described, for one can readily understand that from placing the decorative design in a monochromatic field of low tone, which is essentially a pictorial method, development would proceed in the direction of concealing the mechanics of the art in order to enhance the pictorial effect. Thus arose the so-called "cloisonless enamels" (_musenjippo_). They are not always without cloisons. The design is generally framed at the outset with a ribbon of thin metal, precisely after the manner of ordinary cloisonné ware. But as the work proceeds the cloisons are hidden--unless their presence is necessary to give emphasis to the design--and the final result is a picture in vitrified enamels. Monochromatic Enamels.