200 Nuevos Soles 2012, Peru
| in Krause book | Number: 186 |
| Years of issue: | 22.03.2012 |
| Edition: | |
| Signatures: | Presidente: Sr. Julio Velarde Flores, Director: Sr. Luis Alberto Arias Minaya, Gerente General: Sr. Renzo Rossini Miñán |
| Serie: | 2009 Issue |
| Specimen of: | 31.08.2011 |
| Material: | 100% raw cotton |
| Size (mm): | 140 x 65 |
| Printer: | Francois-Charles Oberthur Fiduciaire SA, Colombes |
* All pictures marked 
are increased partially by magnifying glass, the remaining open in full size by clicking on the image.
** The word "Specimen" is present only on some of electronic pictures, in accordance with banknote images publication rules of appropriate banks.
Description
Watermark:
Saint Rose of Lima, denomination 200 and Santa Rosa arch in Philippines.
The Santa Rosa Arch , also known as the Bantayang Bato is a monument in the city of Santa Rosa in Laguna, Philippines.
The original structure was built between 1859 and 1860 and was patterned after the Arc de Triomphe in Paris under the commission of Arcadio Arambulo.
It was built as a replacement to an old guard tower which was used by the Spanish colonial authorities to guard the city from bandits. The current structure was erected in 1925 during the tenure of Municipal President Jose Zavalla.
Local sculptor David Dia was commissioned to renovate the arch in 1931. Since the 1931 renovation, the arch exhibits Art Deco characteristics.
The monument features four lion sculptures which is symbollically meant to be the guardians of Santa Rosa. These features is the origin of Santa Rosa's title as the "Lion City of South Luzon". The arch also had a structured staircase, a sunburst design on its alcove, and a grand lady flaming torch and features a wraparound balcony. It also exhibits frieze and a relief of trumpeting angels.
The Santa Rosa Arch is considered as a primary landmark of Santa Rosa serving as a gateway to the city. The monument is also a central element of the city seal of Santa Rosa. 
Avers:
The engraving on banknote is made after this portrait of Saint Rose of Lima by Italian painter Carlo Dolchi, XVII century.
Saint Rose of Lima, T.O.S.D. (April 20, 1586 – August 24, 1617), was a member of the Third Order of Saint Dominic in Lima, Peru, who became known for both her life of severe asceticism and her care of the needy of the city through her own private efforts. A lay member of the Dominican Order, she has been declared a saint by the Catholic Church, being the first person born in the Americas to be canonized as a saint.
As a saint, Rose of Lima has been designated as a co-patroness of the Philippines along with Saint Pudentiana; both saints were both moved to second-class patronage in September 1942, by Pope Pius XII, but Rose remains the primary patroness of Peru and the indigenous natives of Latin America.
She was born Isabel Flores de Oliva in the city of Lima, then in the Viceroyalty of Peru, on April 20, 1586. She was one of the many children of Gaspar Flores, a harquebusier in the Imperial Spanish army, born in Baños de Montemayor (Spain), and his wife, María de Oliva y Herrera, a criolla native of Lima. Her later nickname "Rose" comes from an incident in her infancy: a servant claimed to have seen her face transform into a rose. In 1597 she was confirmed by the Archbishop of Lima, Toribio de Mogrovejo, who was also to be declared a saint. She formally took the name of Rose at that time.
As a young girl in emulation of the noted Dominican tertiary, St. Catherine of Siena she began to fast three times a week and performed severe penances in secret. When she was admired for her beauty, Rose cut off her hair and smeared pepper on her face, upset that men were beginning to take notice of her. She rejected all suitors against the objections of her friends and her family. Despite the censure of her parents, she spent many hours contemplating the Blessed Sacrament, which she received daily, an extremely rare practice in that period. She was determined to take a vow of virginity, which was opposed by her parents, who wished her to marry. Finally, out of frustration, her father gave her a room to herself in the family home.
Stained glass window by Harry Clarke, located in St. Michael's Church, Ballinasloe, Ireland, depicting St. Rose burning her hands in an act of penance.
After daily fasting, she took to permanently abstaining from eating meat. She helped the sick and hungry around her community, bringing them to her room and taking care of them. Rose sold her fine needlework, and took flowers that she grew to market, to help her family. She made and sold lace and embroidery to care for the poor, and she prayed and did penance in a little grotto that she had built. Otherwise, she became a recluse, leaving her room only for her visits to church.
She attracted the attention of the friars of the Dominican Order. She wanted to become a nun, but her father forbade it, so she instead entered the Third Order of St. Dominic while living in her parents' home. In her twentieth year she donned the habit of a tertiary and took a vow of perpetual virginity. She only allowed herself to sleep two hours a night at most, so that she had more hours to devote to prayer. She donned a heavy crown made of silver, with small spikes on the inside, in emulation of the Crown of Thorns worn by Christ.
For eleven years she lived this way, with intervals of ecstasy, and eventually died on August 24, 1617, at the young age of 31. It is said that she prophesied the date of her death. Her funeral was held in the cathedral, attended by all the public authorities of Lima.
In the center is a well of desires, in the sanctuary of Saint Rosa de Lima.
In the sanctuary of Saint Rose de Lima, in the capital of Peru, there is a well. There, according to legend, she threw the key to the lock, which was fastened on her belt, wanting to repent before God. The belt hit the skin and caused Rosa suffering, and then her loved ones asked her to take it off. However, the key was discarded. Rosa came to the well and cried into it, praying to the Lord for forgiveness, and then miraculously the castle opened. To the well, which has survived to this day, thousands of believers annually come to put letters of the saint with them in their requests. (www.metmexico.com .rus)
Across the field of banknote are the patterns.
Denomination in numerals are in lower right corner and centered. In words - centered.
Revers:
Karal (also Karal-Supe) - the ruins of an ancient large settlement in the valley of the Supe River, in the Peruvian province of Barranca, some 200 kilometers (120 mi.) north of Lima. Caral is the most ancient city of the Americas and a well-studied site of the Norte Chico civilization.
Caral was inhabited roughly between the 26th and 20th centuries BCE, enclosing an area of more than 60 hectares (150 acres). Caral was described by its excavators as the oldest urban centre in the Americas, a claim that was later challenged as other ancient sites were found nearby, such as Bandurria, Peru. Accommodating more than 3,000 inhabitants, it is the best studied and one of the largest Norte Chico sites known.
Paul Kosok discovered Caral in 1948, but it received little attention at the time because it appeared to lack many typical artifacts that were sought at archaeological sites throughout the Andes. In 1975, the Peruvian architect Carlos Williams made a detailed record of most of the archaeological sites of the valley of Supe, among which he recorded Caral, from which he made some observations about the development of architecture in the Andes. Ruth Shady further explored the 4,000- to 4,600-year-old city in the Peruvian desert, with its elaborate complex of temples, an amphitheatre and ordinary houses. The urban complex is spread out over 150 hectares (370 acres) and contains plazas and residential buildings. Caral was a thriving metropolis at roughly the same time that Egypt's great pyramids were being built.
Caral is the largest recorded site in the Andean region with dates older than 2000 BCE and appears to be the model for the urban design adopted by Andean civilisations that rose and fell over the span of four millennia. It is believed that Caral may answer questions about the origins of the Andean civilisations and the development of the first cities.
Among the artefacts found at Caral are a knotted textile piece that the excavators have labelled a quipu. They write that the artefact is evidence that the quipu record keeping system, a method involving knots tied in rope that was brought to perfection by the Inca Empire, was older than any archaeologist had previously guessed. Evidence has emerged that the quipu may also have recorded logographic information in the same way writing does. Gary Urton has suggested that the quipus used a binary system which could record phonological or logographic data.
On left side, as seen through image, is the statuette of woman, founded in Sacred city Caral.
On top is a Peruvian coat of arms.
The coat of arms of Peru is the national symbolic emblem of Peru.
All four share the same escutcheon or shield, consisting of three elements: the top left section shows the vicuña, the national animal, on a light-blue field, representing the fauna of Peru; the tree in the top right section is the cinchona tree (the source of quinine, a powerful anti-malarial drug and the key flavorant in tonic water), on a white background, representing the national flora; and the bottom cornucopia with coins spilling from it, on a red field, represents the mineral resources of the country.
The Coat of arms (Escudo de Armas) has a palm branch on its left and an laurel one on its right, tied by a red and white ribbon, as well as a Holm oak Civic Crown above it. These represent God, gold, and glory. This variant is used on the national ensign (Enseña Nacional) or state flag. Its use on its own is infrequent, except on currency, both on coins and bills, and stamps.
Denomination in numerals is in lower left corner and right of center, vertically.
Comments:
Security thread.
The name is a return to that of Peru's historic currency, the Sol in use from the XIX century to 1985. Although the derivation of Sol is the Latin solidus, the word also happens to mean sun in Spanish. There is a continuity therefore with the old Peruvian Inti, which was named after Inti, the Sun God of the Incas.
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