The Epicurean
A Treatise on the Culinary Art — Charles Ranhofer of Delmonico’s — 1894
No. 3006

Brioches St. Mark

Brioches St. Marc

Butter twelve small timbale molds (No. 1, Fig. 137), fill them three-quarters high with brioche paste (No. 130), and leave to rise in a mild temperature, and when the molds are partly full bake them in a slow oven. After taking them out cut them off level with the tops of the molds and leave in till cold, then empty them partially and pour over the insides some syrup flavored with maraschino and almond milk (No. 4), filling them up with frangipane cream (No. 43). Cover the outsides with apricot marmalade (No. 3675) and strew the sides with green pistachios and white almonds, both chopped up finely. Ornament the tops of each brioche with a rosette composed of halved pistachios and a split cherry laid in the center. Dress them in a circle on a dish, and arrange in the center some stewed halved peaches. Cover the ornamentation on the brioches with maraschino syrup thickened with a little apricot marmalade, and dress in the intersection of the peaches some freshly shelled white split almonds, and also some candied halved cherries, then serve. Have a sauce-boat of English vanilla cream sauce (No. 3004) to accompany this entremets.

For the Modern Kitchen

Ranhofer writes in cross-references, so this is really an assembly job: brioche, almond-milk syrup, frangipane, apricot glaze and a custard sauce all come from elsewhere in the book. Read it as a plan for twelve individual baba-style pastries rather than a single set of instructions.

A Little History

Charles Ranhofer's The Epicurean (1894) records the kitchen of Delmonico's in New York, and this is a characteristic Delmonico dessert: not one preparation but several, cross-referenced by number and assembled into a centerpiece. The base is the syrup-soaked brioche family that runs from the baba and savarin through dozens of nineteenth-century variations, each distinguished chiefly by its garnish and its liqueur — here maraschino, the clear cherry spirit of the Dalmatian coast that was widely used in fashionable French and American pastry work of the period. The name may be a nod to Venice and its basilica, in keeping with the era's habit of attaching place-names and patrons' names to otherwise standard formulas, but this is guesswork: Ranhofer offers no explanation, and the book is full of such titles.