Before Gampopa, the transmission Milarepa carried existed as a lineage of individual yogins, teacher to student, largely outside any settled monastic institution. The Kadampa tradition Gampopa trained in before meeting Milarepa ran in the opposite direction: strongly monastic, textually systematic, organized around communal discipline rather than solitary retreat. Gampopa's historical significance is that he did not choose between the two but built an institution capable of holding both, a fully ordained monastic order that also transmitted the intensive meditative and tantric instruction he had received directly from Milarepa. His own writing, especially the Jewel Ornament of Liberation, reflects the same synthesis in its structure, presenting the graduated stages-of-the-path format familiar from Kadampa scholastic manuals but building toward the direct pointing-out instructions characteristic of the yogic lineage. Later historians of the Kagyu tradition treat this synthesis as the reason the school could outlast its founding generation of individual charismatic teachers: an order with monasteries, ordination lines and a written curriculum could train successors in a way a purely wandering lineage could not, and the eventual proliferation of Kagyu sub-schools, the so-called Four Great and Eight Lesser branches, all trace their institutional descent to monasteries founded in Gampopa's own lineage rather than directly to Milarepa.