 Moreover, Herder emphasizes that correctly identifying the genre of a work by these means is vitally important not only for interpreting the work correctly, but also for critically evaluating it correctly: French critics not only make an interpretive mistake when they go to Shakespeare’s tragedies with a genre in mind from the ancient world that was not in fact his, but they also, on this basis, make an evaluative mistake: because they falsely assume that he somehow must be aspiring to realize the genre-purpose and -rules that Aristotle found in ancient tragedy, they fault him for failing to realize these, while at the same time they overlook the quite different genre-purpose and -rules that he really does aspire to realize and his success in realizing these. Similarly, Winckelmann not only makes an interpretive mistake when he implicitly imputes to the Egyptians a Greek genre-conception for sculpture that was not theirs, but also, on this basis, makes an evaluative one: because he falsely assumes that the Egyptians somehow must be aspiring to realize the Greek genre-purpose and -rules, he faults them for failing to realize these, and at the same time he overlooks their success in realizing the very different genre-purpose and -rules that they really do aspire to realize.