A dated the second month of Bunmei 16 (1484), signed in a large long no ju Ukyo-no- Katsumitsu and incised below its with the prayer-texts Tenka-taihei kokudo-an'on and Fuki-manpuku --mansoku, is the one work of this smith raised to . Katsumitsu is one of the representative names of the mid- and late- smiths called , and the published sources record more than ten smiths signing it from the middle of the period onward. The signature compendia single out those who added a common name to the , above all Ukyo-no- Katsumitsu and his son Jirozaemon-no-jo. Ukyo-no-, the maker of this record, is placed ahead of his son in seniority and named the elder brother of Sakyo-no- Munemitsu (右京亮と銘するものは次郎左衛門尉よりは先輩であり). The same entry counts his technique among the best of .
His characteristic hand is the compound of , carried higher and brighter with . The published sources say that while his work often shows that , he is especially adept, compared with the other smiths, at a more flamboyant effect with abundant mixed into the . On the the temper mixes open-waisted , , and , with and entering well, prevailing with , and and a bright . The reads it as showing the typical manner of Katsumitsu within work. A solo of Bunmei 10 tempers , and in a high , with , and small in the lower half.
The is a or an mixed with , well packed and flowing in places, with that on the Bunmei 10 is fine as dust and with fine . A rises over it on most of his blades. Of a Bunmei 18 made with Munemitsu, the published sources write that its is clearer than on work of the same period and its temper rich in variation with conspicuous . The enters in and turns back in a or with a pointed tendency. Both faces carry the devotional carving of the school: in with below, , a and the shrine name . The published sources take these to be the work of the school's specialist carvers. The shape is the late- katate-uchi , broad and thick with and a short tang with a flared end.
Most of his record is joint work. Eight of his ten -designated blades are collaborations, seven of them with his younger brother Sakyo-no- Munemitsu, the two names cut in two lines, most over dates of the Bunmei era. Several were forged away from , at Kusakabe in and at Kojima in . Two more Kusakabe pieces stand outside that record. A of Bunmei 18 (1486), tempered in a of mixed with , was certified ; the published sources name the pair as sons of Rokurozaemon Sukemitsu whose joint works are met comparatively often, and call this blade their representative work. A dated Bunmei 19 (1487), tempered in mixed with over an , is designated an Important Cultural Property. The published sources call the Kojima valuable material for tracing the brothers' movements. They add that joint works of the two are by no means rare, yet because both smiths were highly skilled they are what sword lovers prize most. A of Bunmei 16 adds Hikobei Tadamitsu as a third hand. Of it the writes that it has scarcely seen another joint sword including Tadamitsu.
Beside the -rich he also tempers a calm -based line, and the published sources compare it with the work of Tadamitsu. The three-way tempers a with , and , and . The Kojima of Bunmei 16 has a base with shallow , and fine , and the commentary calls it work especially often seen on Tadamitsu. A forged with Munemitsu at Kojima in the same year tempers a with a little in , the straight with a round turnback, and is valued for its inscription as much as its workmanship. Another joint with Munemitsu tempers a with small and a tight over a clean, well-packed , carved with a and at the waist. The calls it typical and representative of the of its day. A of Bunmei 11, made with Gorozaemon-no-jo Norimitsu when the elder smith was seventy-four, is broad, extended and very thick, with strong . It tempers a with a feeling in bright, clear , and the finds in it a vein of workmanship akin to Tadamitsu of the same school.
He has no National Treasures; his one Important Cultural Property is that Kusakabe , held at the Tōshōgū in Tochigi. His record is one and nine blades, all signed and dated, most of them in the Bunmei era, and Fujishiro ranks him Sai-jo . The , first designated in the seventh session, is called a rare work robust in build for its time and an excellent blade showing Katsumitsu at his best. Its prayer-text inscriptions have no parallel elsewhere and were presumably made to a special order, though later smiths imitated them. The Bunmei 11 is accompanied by a mounting by Ishiguro Masami bearing the crests of the Okubo family, from whom it descends. Outside these, the blades are the works a collector may realistically meet, and a signed and dated Katsumitsu reaches the market only from time to time.