Balbás, Jerónimo De

Jerónimo de Balbás, (born c. 1680, Zamora, Spain—died 1748, Mexico City, Viceroyalty of New Spain [now in Mexico]), Spanish architect and sculptor who helped create Mexican Baroque architecture with his introduction to Mexico of the style usually called Churrigueresque (sometimes Ultrabaroque). This style is characterized by an element known as the estípite column (a square or rectangular column hidden in various places by receding and protruding planes separated by elaborate decorative elements). These columns serve as support for highly ornate Baroque decoration, primarily imitative of vegetation. His adopted son, Isidoro Vincente Balbás (c. 1720–83), also a sculptor and architect, continued his father’s work in the same style.

Jerónimo de Balbás spent the early part of his career in Madrid before moving to Sevilla. There he designed the main altar of the sacristy in the Sevilla Cathedral, an example of the Churrigueresque because of its use of estípites, tumbling angels, and a cornice interrupted in multiple places. The altar was completed in 1709 and was destroyed in 1824.

Balbás went to New Spain (as Mexico was known) about 1718, the year he began work on the altar for the Chapel of the Kings in the Cathedral of Mexico City. This project introduced the estípite to Mexico, where it quickly spread and became a standard element of the Churrigueresque style of Mexican Baroque architecture, an overwhelmingly decorative and ornate style. The altar in the Chapel of the Kings was a prime example of this style, and Balbás continued to produce Churrigueresque designs for other altars in the cathedral, including the high altar (later destroyed), and work various elements in other churches. Balbás was also an architect and supervised work on Mexico City’s Hospital Real de Indios, among other projects.

His son Isidoro is best known for the gilded altar in the Church of Santa Prisca y San Sebastián in the mining town of Taxco, constructed in the 1750s, which epitomizes the Churrigueresque style. For this altar, Isidoro elaborated on his father’s style by having vegetal decoration cascade from the estípites, which also support tiny figures of saints and angels.