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| 正面描述 | The right half of the obverse is dominated by a large intaglio portrait bust of the Roman Emperor Vespasian in profile facing left, rendered in a classical sculptural style. To the left, a vignette presents the ruined Corinthian columns of the Roman theatre at Dougga against a pale sky, with the date printed centrally below the bank title. Three manuscript signatures appear in designated fields for Le Gouverneur, Le Caissier Général, and Le Secrétaire Général, with the denomination '5000' printed in each lower corner. |
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| 正面铭文 | 登录 以查看详情 |
| 背面描述 | The entire reverse is occupied by a polychrome intaglio reproduction of an antique Roman mosaic known as 'The Triumph of Bacchus', in which a chariot drawn by four tigers or panthers carries seated and standing figures, accompanied by a large panther in the lower foreground. The central vignette is framed by an ornate border of grapevines, birds, and foliage in rich earth tones. Arabic inscriptions appear above and below the central scene, with the denomination rendered in Arabic script to the right. |
| 背面铭文 | 登录 以查看详情 |
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The Banque de l'Algérie et de la Tunisie was a transitional institution — the "et de la Tunisie" suffix was added in 1949 when the bank absorbed the functions of the former Banque de Tunisie, consolidating French monetary authority across both territories under a single issuing body. This 5000 Francs note falls squarely within that short consolidated window before Tunisian independence in 1956 severed the arrangement entirely.
Cheffer was among the most accomplished designers working for the Banque de France atelier in the postwar decades, and both Marliat and Beltrand were senior engravers in that workshop — a pairing that signals this was treated as a prestige printing, not a routine colonial issue. Beltrand in particular came from an engraving dynasty; his father Auguste had worked for the same atelier a generation earlier.