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100 Pesos
| Issuer | Banco Nacional de la República de Colombia |
|---|---|
| Year | 1900 |
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| Reference(s) | P#281 |
| Obverse description | The obverse is dominated by a central vignette of an eagle with spread wings perched amid foliage, flanked by two large dark oval medallions each bearing the numeral '100' in bold relief. To the lower left, an intaglio portrait of a bearded gentleman in formal attire is set within a rectangular frame. The bank title 'EL BANCO NACIONAL DE LA REPÚBLICA DE COLOMBIA' arches across the upper register, while the denomination 'CIEN PESOS EN MONEDA CORRIENTE' appears in the central text panel, with handwritten date 'Bogotá, 31 de Setiembre de 1900', serial number, series letter, and multiple manuscript signatures below. A guilloche-bordered Colombian coat of arms vignette occupies the lower right corner. |
|---|---|
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| Reverse description | The reverse presents a large, detailed lithographic historical vignette occupying the central field, illustrating the funeral rites of Atahualpa at Cajamarca, dated August 29, 1533, with ecclesiastical and military figures gathered around a bier in a colonnade setting. The bank title 'EL BANCO NACIONAL DE LA REPÚBLICA DE COLOMBIA' runs across the top margin, with the inscription 'FUNERALES DE ATAHUALPA, CAJAMARCA, AGOSTO 29 DE 1533' immediately below. The denomination '100 CIEN PESOS' appears in the lower left and right cartouches, and the imprint 'LITOGRAFÍA NACIONAL' is noted at the bottom of the central vignette panel. |
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| Comments |
The Banco Nacional de la República de Colombia had a troubled final decade. Congress voted to liquidate it in 1894 amid accusations of over-emission and political manipulation of the money supply, but the process dragged on through the War of the Thousand Days — Colombia's catastrophically destructive civil conflict of 1899–1902. Notes continued to be issued and circulated well past the point of institutional legitimacy, and by 1900 the bank's paper was depreciating rapidly against specie.
Printed domestically by Litografía Nacional in Bogotá rather than contracted abroad, as was common for Latin American issues of the period. The choice reflects wartime isolation as much as nationalist preference.