The idea that the glass of Chartres presents an orderly and legible format is highly contested. It has been referred to as being haphazard and incoherent, its very disorder being compared to the orderly arrangement of the glass at Canterbury. There is a coherence but it is based on compormises; between the actual theology and the money contributed by the donors, the move towards originality and conformity to tradition. It is a coherence composed of symbolism and liturgical demands. The Chartres series of windows confirms the overriding tension in the 13th century between the outmoded trends of monastic speculation and the more modern aspirations of a more popular faith.