site at Shimo-Nangawarayama (下南川原山) show that blue-and-white sometsuke and celadon wares were also produced. The Kakiemon kiln site (柿右衛門窯跡) in Arita is a double climbing kiln: A, with 12 firing chambers, a length of 42 metres, and an average incline of 11.5°; and B, with 21 chambers, a length of 83 metres, and an average gradient of 13°. Saggars and kiln tools have also been recovered. It was registered on the List of Historic Sites of Japan (Saga). Kakiemon porcelains have been produced by direct descendants. At the same time many other kilns around Arita produced wares in the same style, some using the nigoshide body. Kakiemon porcelain was exported from Japan into Europe via the Dutch East India Company, and beginning in the 1650s, through a variety of other avenues. King Augustus II the Strong of Poland and Mary II of England both owned examples. The earliest inventory to include Japanese porcelain in Europe was made at Burghley House in 1688; these included a standing elephant with its trunk raised and a model of two wrestlers. Wares included bowls, dishes and plates, often hexagonal, octagonal or fluted with scalloped edges. The famed white nigoshide body was only used with open forms, and not for closed shapes such as vases, bottles and teapots, or for figures and animals. The hexagonal vases and covers known as "Hampton Court" vases were named after a pair at Hampton Court Palace near London, recorded in an inventory of 1696. Around 1730, this shape was copied at Meissen, Saxony, which entered into a "sister city" contract with Arita, in 1979. The style was also adopted and copied in Chelsea and Worcester in the 1750s and by Samson Ceramics in the 19th century. Statuettes were also created, an example being the Kakiemon elephants (British Museum). Meissen copies could be extremely close to the originals; alternatively, the factory painters sometimes just borrowed designs, and used them with other shapes and styles. The style was also adapted in Germany and Austria by the Du Paquier manufactory and in France at Chantilly, Mennecy and Saint-Cloud porcelain. It was also an influence on Dutch Delft pottery and Chinese export porcelain. Exports to Europe of Japanese Kakiemon porcelain, and all other types, stopped in the mid-18th century when China resumed export to Europe. Since both Kakiemon and Imari styles were already so popular among Europeans, Chinese export porcelain copied both styles.