The International Cook Book

Over three thousand recipes from the man who cooked at Delmonico's — French sauces, Italian pastas, Indian curries and American pies, the whole eating world of 1906 in one volume.

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Pudding, Geraldina

Pound in a mortar to a pulp three ounces sweet, peeled almonds and two beans peeled bitter almonds. Place the paste in a saucepan with one pint cold milk and boil for ten minutes. Have in another saucepan four tablespoons rice flour and drop in, little by little, the boiling milk right on top of the flour, sharply mixing continually while adding it. Now add one ounce good butter and continue to mix with a wooden spoon for five minutes, keeping it on the range. Remove the pan on a table, add two ounces powdered sugar, one teaspoon vanilla essence, two egg yolks and a tablespoon cold cream; briskly mix the whole well to-together with a skimmer for two minutes. Beat up the whites of the two eggs to a stiff froth, add to the preparation and gently mix with the skimmer for one minute.

Lightly butter a quart pudding mould, pour the preparation into the mould, place it in a saucepan, pour in boiling water up to half the height of the mould, and place it in the oven to steam for forty minutes. Remove, unmould on a hot dish. Pour a hot apricot sauce over the pudding and serve.

For the Modern Kitchen Do not make this as written.

The pudding itself is a simple steamed rice-flour cream, but the flavouring is the problem: it is built on bitter almonds, which are not a culinary ingredient in the modern sense.

A Little History

Bitter almonds run through European confectionery from the medieval period onward: they are the traditional source of the sharp marzipan-and-cherry note that industrial benzaldehyde now supplies, and old French and Italian pastry manuals routinely specify a few of them alongside a larger quantity of sweet almonds. The imbalance tells you the bitter kernel was understood as a seasoning rather than a nut. Puddings of this type, thickened with rice flour, lightened with whipped whites and steamed in a buttered mould in a water bath, belong to the professional restaurant repertoire that The International Cook Book drew on; the personal name attached to the dish follows the nineteenth-century kitchen habit of dedicating a composition to a patron or performer, a convention more often decorative than documented.

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