When Dulwich picture gallery began discussing the idea of introducing a fake painting to their collection, no-one could have imagined it would have led to the quadrupling of visitor numbers. But that is exactly what happened when Jean-Honoré Fragonard’s 18th-century work Young Woman was replaced by a hand-painted replica, produced in China and ordered over the internet for £70. It has hung in among 270 Old Master paintings since February 10 after a challenge was laid down to the public to 'spot the fake'. Now, three months on, the gallery has revealed that only 10 per cent of the 3,000 people who visited during the experiment guessed correctly. Scroll down for video . Can you spot the difference? A member of the public compares the original painting by Jean-Honore Fragonard (left) and the replica ordered on the internet from China (right) at the Dulwich picture gallery . But the gallery's chief curator, Xavier Bray, said that he was impressed a number of people had managed to spot the imposter hidden among the Rembrandts, Rubens and Murillos. He told MailOnline: 'It was a fascinating experiment which gave us a chance to test art connoisseurs and we saw visitor numbers quadruple because of it. 'It made people look closely at a painting and discern what might be a replica and why. Ten per cent got it right, which means Britain as a nation is still a nation of connoisseurs, which is great. 'Unfortunately others got it wrong. A number of visitors presumed the imposter was a female portrait by Rubens, which had been restored 10 years ago, because it appeared brighter. But that was interesting as it allowed us to find out more about the way the public look at our paintings.' The idea for the exhibition, titled Made in China, came from American artist Doug Fishbone. Its aim was to make people think about the way they look at, appreciate and value artistic masterpieces. Mr Bray said Dulwich was keen to challenge the public to 'spot the fake' as a way of engaging with visitors and making the picture gallery more interactive. Visitors were challenged to spot the replica among 270 Old Master paintings. Only 10 per cent of them guessed right. The original and fake are now hanging together, making the difference more obvious . 'Fascinating experiment': The gallery's chief curator, Xavier Bray (pictured), said visitor numbers quadrupled after the 'spot the fake' challenge was laid down to the public at the beginning of February . The power of the museum: Mr Bray said the gallery was not planning any similar experiments. Instead, his attention has turned to whether the fake will now become a work of art in its own right . 'It was a risk, no doubt about it,' he said. 'You wouldn't expect the National Gallery or the Tate to display a replica on their walls but because we're an independent charity and don't rely on public money it means we're relatively free to do what we want. 'But that doesn't mean there couldn't have been repercussions. We are a temple of art and as soon as people cross that threshold they expect everything you are told on a label to be correct. 'Our aim was to get people to engage and learn - that is what was really exciting. Can they spot a replica by comparing it with the magical, beautiful originals we have?' The way to distinguish the real from the fake, Mr Bray said, was to look at the lack of warmth in the background canvas of the imposter and the modern pigment of acrylic paints. 'If you look closely, the brushwork on the fake is trying to be expressive but it comes across as dead because it's an attempt to replicate something else. There's no magic to it like there is with the real one.' The original painting was put back in its frame yesterday and hung beside the replica, allowing people to compare the differences between the two. Mr Bray said the gallery was not planning any similar experiments. Instead, his attention has turned to whether the fake will now become a work of art in its own right. 'It will be very interesting to see what happens when the counterfeit leaves the gallery,' he said. 'Will it achieve significance and become a work of art? 'This is where the power of it being displayed in a temple of a museum could give it extra significance in the art world - that is also part of the experiment.' Original: Jean-Honoré Fragonard’s Young Woman . Jean-Honoré Fragonard’s 18th-century work Young Woman is one of his famous Fantasy Figures, a series of quickly executed studies intended to showcase the artist’s virtuoso handling of oil paint. It was painted in 1769. The unidentified woman is portrayed in Spanish dress, with a lace collar and slashed sleeves suggesting the dramatic costume of the stage. It was Spanish painter Diego Velázquez (1599-1660) who inspired the depiction of Spanish dress in 18th-century French art. Once thought to be by French artist Jean-Alexis Grimou (1678-1733) on the strength of his signature, closer examination revealed that this was false. Fragonard's genuine signature, ‘Frago’, is discernible above, although partially obscured by overpainting. It is believed Fragonard was paying a playful homage to Grimou, a fellow artist who was well known in France at the time, particularly as a copyist . It is thought Fragonard's intent was not to deceive, but rather to excite connoisseurs with amusing visual ambiguity.
Dulwich picture gallery challenged public to spot fake among 270 paintings . Visitor numbers have quadrupled in three months since it was launched . Counterfeit, ordered on internet from China for £70, has now been revealed . It was a replica of Jean-Honoré Fragonard’s 18th-century Young Woman .