It is needless to say that such applications of the higher criticism to the ancient sacred documents proved to be no safer for the applier than if he had lived in the United States of America. The orthodox Shintōists were roused to wrath and charged the learned critic with "degrading Shintō to a mere branch of Christianity." The government, which, despite its Constitution and Diet, is in the eyes of the people really based on the myths of the Kojiki, quickly put the professor on the retired list.[25] It is probably correct to say that the arguments adduced by Professor Kumi, confirm our theory of the substitution in the simple god-way, of Mikadoism, the centre of the primitive worship being the sun and nature rather than Heaven. Between the ancient Chinese religion with its abstract idea of Heaven and its personal term for God, and the more poetic and childlike system of the god-way, there seems to be as much difference as there is racially between the people of the Middle Kingdom and those of the Land Where the Day Begins. Indeed, the entrance of Chinese philosophical and abstract ideas seemed to paralyze the Japanese imagination. Not only did myth-making, on its purely æsthetic and non-utilitarian side cease almost at once, but such myths as were formed were for direct business purposes and with a transparent tendency. Henceforth, in the domain of imagination the Japanese intellect busied itself with assimilating or re-working the abundant material imported by Buddhism. Ancient Customs and Usages. In the ancient god-way the temple or shrine was called a miya. After the advent of Buddhism the keepers of the shrine were called kannushi, that is, shrine keepers or wardens of the god. These men were usually descendants of the god in whose honor the temples were built. The gods being nothing more than human founders of families, reverence was paid to them as ancestors, and so the basis of Shintō is ancestor worship. The model of the miya, in modern as in ancient times, is the primitive hut as it was before Buddhism introduced Indian and Chinese architecture. The posts, stuck in the ground, and not laid upon stones as in after times, supported the walls and roof, the latter being of thatch. The rafters, crossed at the top, were tied along the ridge-pole with the fibres of creepers or wistaria vines. No paint, lacquer, gilding, or ornaments of any sort existed in the ancient shrine, and even to-day the modern Shintō temple must be of pure hinoki or sun-wood, and thatched, while the use of metal is as far as possible avoided. To the gods, as the norito show, offerings of various kinds were made, consisting of the fruits of the soil, the products of the sea, and the fabrics of the loom.