The Epicurean
A Treatise on the Culinary Art — Charles Ranhofer of Delmonico’s — 1894
No. 3226

Angel Cake

Gateau des Anges

Pour twenty egg-whites into a basin and whip them till quite firm; at once add ten ounces of sugar, part of it flavored with vanilla (No. 3165), and continue whipping the whole until quite smooth, then add half a pound of flour into which has been mixed half a teaspoonful of cream of tartar and sifted several times through a sieve; mix all together lightly till smooth. With this preparation fill some angel cake molds, eight to nine inches in diameter, three-quarters full; these should be quite dry, without any buttering. Push the cakes into a very slack oven to cook for forty to fifty minutes, then take them out and keep them in their molds for two hours; now pass a small kitchen knife between the pan and the cake, knock the edges of the former gently on the table to detach the cake and turn it on a grate; pare the tops very straight, ice with royal icing (No. 101) and dress on a lace-paper-covered board or dish; after the icing is dry decorate with more of the royal icing.

For the Modern Kitchen

Ranhofer's angel cake is built on the same principles as the modern version, but the proportions and the oven direction both need translating before you start.

A Little History

Angel cake is generally taken to be an American invention that Ranhofer, writing for Delmonico's in 1894, dressed in a French name — gâteau des anges. It belongs to the second half of the nineteenth century for practical reasons: it needs cheap refined white sugar, finely milled white flour, chemically pure cream of tartar, and a convenient way of whipping twenty egg whites, which rotary eggbeaters, patented from the 1850s onward, made easier. The tall ring pan with a hollow centre that he calls an "angel cake mold" is closely associated with the cake, and its tube is usually explained as conducting heat into the middle of a batter too delicate to survive a long bake. The name is generally taken as a comment on the cake's whiteness and near-weightlessness, and it was later set opposite devil's food cake. Its place here, among the large cakes for entremets, marks it as a course in itself rather than a homely dessert. The fat-free crumb would also have used up the whites left over from a kitchen that went through egg yolks in custards, sauces and ices.