5 Pesos 1953, Argentina
| in Krause book | Number: 264c |
| Years of issue: | 1951 - 1959 |
| Edition: | -- |
| Signatures: | Gerento general: J. Palarea, Presidente: Miguel Revestido |
| Serie: | 1951 Leyes Nos 12962 y 13571 |
| Specimen of: | 1951 |
| Material: | Cotton fiber |
| Size (mm): | 145 х 72 |
| Printer: | Casa de Moneda de la Nación, Buenos Aires |
* 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:
In top left corner are the letters AR as Argentina.
Centered is an inscription - 5 Pesos.
Avers:
On the left side is an allegory of Progress.
Another common allegorical figure, in this on banknotes, is an Effigy of Progress which features a woman sitting, holding an Argentine shield with one hand and a lighted torch with the other. The design, which is usually attributed to the French writer Louis-Eugène Mouchon, was carried out for illustrating the front of the peso moneda nacional banknotes as a result of Act. 3505 of 1897, which authorized the "Caja de Conversión" (The caja de conversión was the body responsible for maintaining the value of the Argentine peso in gold, as part of the currency board that operated in Argentina before 1935. It was a precursor of sorts to the Argentine Currency Board of the 1990s) to renew and unify all paper currencies in the period.
The Effigy of Progress would be present in all series of banknotes by the Caja de Conversión from 1899 until 1935, when it was replaced by the Central Bank of Argentina, and will not be replaced until 1942, when the Central Bank made its first series of banknotes. The same figure, surrounded by laurels, reappears half a century later on the back of all austral banknotes.
Apart from being identified with Progress, whose formalization is posterior, the figure was initially interpreted as an Effigy of the Republic. 
Denomination in words centered, in numeral in top right corner.
Revers:
Framed pattern.
In right window, inside the framed pattern, is the coat of arms of Argentina.
The coat of arms of the Argentine Republic (Escudo de la República Argentina) was established in its current form in 1944, but has its origins in the seal of the General Constituent Assembly of 1813.
It is unknown who designed the coat of arms. It is often mentioned that there were three men involved: Alvear, Monteagudo, and Vieytes, but it is known that a few years before, President Bernardino Rivadavia asked the Peruvian Antonio Isidoro Castro to create an Argentine coat of arms; however, the two schemes have never been found.
The coat of arms is a figure, in which at the top we find the gold-yellowed Sun of May, also found on the flag of Argentina. The rising sun symbolizes the rising of Argentina, as described in the first version of the Argentine National Anthem, se levanta a la faz de la tierra una nueva y gloriosa nación, meaning "a new and glorious nation rises to the surface of the Earth". It must be noticed how the verb "rise", and so in Spanish, can be used to describe the motion of the Sun.
In the center ellipse there are two shaking hands, connoting the unity of the provinces of Argentina. The hands come together to hold a pike, which represents power and willingness to defend freedom, epitomized by the Phrygian cap on the top of the spear.
The blue and white colors are symbols of the Argentine people and the same colors of the Argentine flag. The blue half of the ellipse symbolizes the sky and the white one denotes the Río de la Plata.
The hands are flesh coloured and stand for friendship, peace, unity, and brotherhood. The pike is brown (wooden), and the Phrygian cap is red, like the traditional French liberty cap. The proximity of the hands and the Phrygian cap, in addition to their individual meanings, represent the national motto of Argentina, en unión y libertad ("in unity and freedom"), and illustrate the idea that in unity (the hands) there is power (the pike), and in power there is freedom (the Phrygian cap).
The Phrygian cap was typically worn by the inhabitants of Phrygia, in the Anatolian peninsula, and is commonly mistaken for being a Pileus. The Pileus was a hat that in ancient Rome became a symbol of freed slaves, who were touched by their owners with a wooden pike before setting them free.
Laurel is another classical symbol. At the end of the ancient Olympic Games (and also the 2004 Summer Olympics), the winner was given a laurel crown, and since then it has symbolized triumph and glory.
In left window, inside the framed pattern, is the same abbreviation as watermark - AR.
Denominations in numerals are in three corners, in words centered.
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