It is to Alice Meynell that Coventry Patmore gives the only manuscript of The Angel in the House (1854–62) in 1893. But Meynell's actual house at the time, 47 Palace Court, was built with money from Jamaican sugar and rum plantations owned by her father, the legitimated descendant of plantation owners and enslaved persons. In this article, I seek to reconnect Meynell's work to its Jamaican context, building on the work of scholars—from Adela Pinch to Yopie Prins—who have tracked the influence of her prosody, her theology, and her sense of community.