Mitsumori of the group is a smith of late- , placed by the published reference works around the Shoo era (1288-93). The Jubi-designated Hotta-family carries the judgment plainly: "this Mitsumori is thought to correspond to the smith recorded in the sword-signature books as a -school artisan working around Shoo (1288-93)" (この光守は銘鑑に正応（一二八八〜九三）頃の畠田派の刀工とあるもの). The published sources are candid that beyond this his genealogy is not fixed; the record neither his dates nor his line clearly. What anchors him instead is his manner. From his rare signed blades, the writes, the brilliant in which kaeruko- is especially conspicuous readily suggests affiliation with the Moriie line, and the way he cuts his signature corresponds to it as well. He is judged close in particular to the second-generation Moriie, and the few signed pieces hold the attribution of the many unsigned ones in place.
His characteristic hand is a flamboyant, -based led by -, the tadpole-headed clove that is the tell. It rises over an mixed with that tends to stand in the grain, with abundant and working into a temper that varies in height and packs into a dense . The recurring smith-level sentence in the published commentary fixes the family idiom in one image: the two representative signed works, the Hotta-family and the Akimoto-family , "both temper a wide of , showing a splendid and ornate manner". The blades read down from that, their mixed with and pointed teeth, adhering and the bright; on the 50th-session the records that the "clearly manifests his distinctive features" and the bright carries a superior result.
The is an with , in places flowing and standing in the grain, on which fine gathers in dust-like and delicate enter. Across it a vivid stands, named first in nearly every entry and, with the standing grain, the surest thing the published sources point to. The 14th-session sets the note at once: "the tends to flow and stand in the grain, and a vivid appears". Within the , fine and run, and on the busier blades are scattered along the ; the runs , turning with a pointed tendency and , or settling in . The tends at times toward a slight , a soft, moist quality, yet on the best of them it is bright and clear.
Two registers divide the corpus. The signed register is the most flamboyant: on a closely forged the temper widens into a -based carrying , - and together, the deep and the bright and clear, with and active. The signature is a large, strongly individual two-character cut in a fine chisel, and on the shortened blades it survives as a , the inlaid plaque, or an , the folded-back skin of the tang. The published commentary notes of one such piece that it is "cut with a fine chisel yet in a large, bold manner, as is usual for this smith." The prime register is the attribution: greatly shortened blades whose make and temper fit his signed work so closely that, in the recurring phrase, the appraisal of Mitsumori is drawn from the aspect of the and the workmanship as a whole. The 24th-session states the reasoning openly, that "the brilliant in which kaeruko- is conspicuous accords with the Moriie line, and the manner of signing answers to it too".
Within the group he stands beside his fellow Sanemori, the two read off the same idiom of wide -based clove with kaeruko- and a bright , the manner that runs the school toward the mainstream. The published sources draw his distinction not by contrast but by what his own blades carry: the kaeruko- dense in his temper where the old hands have none, a that stands on nearly every blade, and an read a shade more openly than his fellow's. On the 42nd-session the writes that the , with the tadpole-style clove mixed in over a in which the stands, "well expresses the characteristic features of this smith", and even where the lower character of the signature is lost under a , the calligraphy of the surviving "光" and the workmanship leave no doubt of his hand.
Mitsumori is Jo-jo in Fujishiro's grading. Ten of his blades are designated and two more are , those two the representative signed works the published sources cite, the Hotta-family and the Akimoto-family . Both Jubi pieces, given by Sasaki Takaoki, are recorded in Honma's inventory of the Imperial collection and are now held by the Tokyo National Museum. The inventory notes that beyond these two it had seen only a single by him, judges his skill considerable, and suggests that he may have worked as a smith for his master Moriie, though his signature differs from Moriie's. One of the signed is, in the 's words, "of note as one of the few signed works of Mitsumori"; it is recorded in the Kozan and descended in the Tokugawa shogunal house during the period. The provenance recorded against his blades runs through the Hotta and Akimoto houses, Count Miyoji, Sasaki Takaoki and the Tokugawa shogunal family. The two museum-held Jubi pieces are patrimony that does not trade; of the rest, ten stand in the tier and the signed examples are scarce, so a Mitsumori reaching open hands is uncommon, a blade a collector may encounter from time to time and with patience rather than at will.