Background: According to the world Health Organization (WHO) report
(2002), at least 170 million people are chronically infected with hepatitis C virus
(HCV).Egypt with the highest prevalence of HCV infection (15%), its rural
villages have a high prevalence of HCV infection in children younger than 10
years of age. Interleukin 10 (IL-10) an anti-inflammatory cytokine, down regulates
the protective inflammatory response, adversely affecting the response to antiviral
treatment. The IL-10 promoter is highly polymorphic, two single nucleotide
polymorphisms (SNPs) G1082A and C592A that form three haplotypes (AA, AC,
and GC) have been shown to be associated with differential IL-10 expression in
humans. Aim of work: determine the prevalence of the 2 SNPs G1082A and
C592A in the IL-10 promotor region and their effect on response to antiviral
therapy in a cohort of children and young adults with HCV infection.
Patients and methods: forty HCV patients underwent baseline quantitation of
HCV-RNA by polymerase chain reaction (PCR) and baseline biochemical testing
and were followed up for seventy-two weeks, both clinically and via laboratory
assessment HCV-RNA viral load and liver function tests. The genotype status of
IL-10 was assessed by real time PCR-Taqman probe based assay. Results and
conclusion: there was no significant association between polymorphisms in the
IL-10 gene (G1082A and C592A) or cytokine haplotype as regards response to
therapy or severity of HCV infection in children. As for the SNP C592A; there
was a statistically significant association between the score of fibrosis and
different genotypes (P < 0.004), concluding that the (A) allele is risky. HCV RNAcount
and gamma glutamyl transferase pretreatment levels were found to be
predictors of response to interferon therapy in HCV infected children in this study.

This study comprises six chapters; chapter one deals with the study of the raw materials which were employed for making the oil painting layers through ages. Starting with the painting supports which include the natural and artificial panels; and their relation to the location in which the painting existed, followed by the canvas supports by all their forms; particularly whether the linen support was the most involved one beside other fibres which were rarely used.in addition to the other paper and metal surfaces. Furthermore, the painting layers, the preparing layers and their general composition will be explained as well.
Chapter two discusses the worldwide forgers and the most famous painters whose their paintings were forged.as this section dealt with the most known worldwide forgers who were unnoticed and what were the direct and indirect motivates to push them to do that.as this resulted in many forged paintings which were exhibited for years as being original.
Beside that, the study of the most favoured painters whose their paintings were preferred to be forged, then the approaches which were proposed to be involved for each forger.starting with the selection of the original painter to whose the painting was attributed, then the preparation process, and finally its sale for art collectors and galleries. in addition to the behaviour to persuade the public with the authenticity of the fake artworks.
Subsequently, Chapter three discusses the study of the involved methods for forgery. firstly selecting the art theme , then the raw materials and their application. in addition to the frequent deceptions which being used by the forgers and the evolution of the forgery concept through ages. As forgery started from an imitation of the outer contour of the painting, then the behaviour of art, and the general outline of the painting. as authenticity of the artworks depended basically upon the experts’ opinions; particularly the debate has occurred when Han Van Megreen admitted that his paintings were forged; although he could persuade others that they were accurately original and how he challenged the experts and could deceive them.
Additionally, the technology came to be employed for the examination for the artworks to prove its authenticity at the same time the forgers tried hardly to involve the same advanced technology in performing the forgery process. Consequently, the forgery process became more accurate and not easy to be detected.
Chapter four includes the innovative scientific means to detect the forged oil paintings in the worldwide which related to the forgers’ mistakes whether direct or indirect. The proposed methods to identify the forged paintings and explaining the application of each method will be involved; e.g. the involved materials and the work conditions ....etc.
Chapter five which being the most significant one as included three sections.the first dealt with a field study which aimed to search for the existing forged oil paintings close to hand.based upon, one recorded court case was found for one of the foreigners and his wife who persuade one of the Egyptian painters for making forged paintings and finally the matter being announced. secondly, a simulation study which focused upon a comparison between two old paintings; one of them was original dated back to the painter Husni EL Banany in 1936 and another was forged which possibly imitated the original one without a clear signature. a scientific methodology to prove the authenticity of this painting was achieved which included the examination and analysis methods, the artistic study and the followed techniques to ultimately reach what was called ” forgery/fake detection”
Chapter six the applied study. the comparative study showed many deterioration aspects from which the painting suffered. so the intervention with the restoration should be made.in additon to the investigation being made to elucidate more about the methods of Hassan EL-Banany to identify the new facts which distinguish his artworks and make it more difficult to be imitated. The treatment started with the documentation of the existing deterioration aspects and then the basic steps of restoration; e.g. the cleaning, primary consolidation, lining for strengthening the original support, binding cracks, and completion for the missing parts and for the painting layers. finally to apply varnish layers; particularly a kind of a matt one.
periodical maintenance will be considered in the museum where the painting was displayed to assure the enduring protection for the painting .

A suggested program for singing Arabic maquam trough singing Egyptian
melodies for the student teacher The message includes the following:
Chapter I contains two sections:
The first section: Includes the provision of research - Introduction to the research
problem
Section second: Includes previous studies related to research.
Chapter II: Theoretical framework includes four topics
Section First: Includes profile lute music and rhythm in Arabic.
Section Second: Definitions of some templates lyrics
The third topic: The definition of solfege eastern and methods taught.
Section IV: Western definition and methods of solfege taught traditional and
modern.
Chapter III: The study is applied.
Chapter IV: Analysis and interpretation of results and recommendations.