including a palette of "delicate iron-red, a glossy blue, a bluish green, a soft purple black, and a yellow very sparingly used". A slightly later innovation added . The multi-coloured enamel overglaze and gold were painted on delicate, ivory-bodied pieces with a finely crackled transparent glaze. The designs—often light, simple floral patterns—were highly influenced by both Kyoto pottery and the Kanō school of painting, resulting in an emphasis on negative space. Many believe this came from Satsuma potters visiting Kyoto in the late seventeenth century to learn overglaze painting techniques. 1867–1885 The first major presentation of Japanese arts and culture to the West was at Paris' Exposition Universelle in 1867, and Satsuma ware figured prominently among the items displayed. The region's governor, the daimyō, understood early the economic, prestige and political advantages of a trade relationship with the West. In order to maintain its connection with Satsuma, for example, Britain offered support to the Daimyō in the 1868 rebellion against the shogunate. The Paris Exposition showcased Satsuma's ceramics, lacquerware, wood, tea ceremony implements, bamboo wicker and textiles under Satsuma's regional banner—rather than Japan's—as a sign of the Daimyō's antipathy to the national shogunate. Following the popularity of Satsuma ware at the 1867 exhibition and its mention in Audsley and Bowes' Keramic Art of Japan in 1875, the two major workshops producing these pieces, those headed by Boku Seikan and Chin Jukan, were joined by a number of others across Japan. "Satsuma" ceased to be a geographical marker and began to convey an aesthetic. By 1873, workshops specializing in painting blank-glazed stoneware items from Satsuma had sprung up in Kobe and Yokohama. In places such as Kutani, Kyoto and Tokyo, workshops made their own blanks, eliminating any actual connection with Satsuma. From the early 1890s through the early 1920s there were more than twenty etsuke factories producing Satsuma ware, as well as a number of small, independent studios producing high-quality pieces. Eager to tap into the burgeoning foreign market, producers adapted the nishikide Satsuma model. The resulting export style demonstrated an aesthetic thought to reflect foreign tastes. Items were covered with the millefleur-like pattern or to the point of horror vacui. They were typically decorated with "'quaint' ... symbols such as pagodas, folding fans, or kimono-clad [females]". Pieces continued to feature floral and bird designs, but religious, mythological, landscape and genre scenes also increased. There was new interest in producing decorative