In 1881 she was with her elder half-sister Jacqueline and with her yr sis. Margaret, all living in some style with 4 servants:

Name Relation Condition Sex Age Birth Year Occupation  Disability  Where Born

TROTTER, Jaqueline   Head     Single  F  40  1841  Income From Divds  Mylebone, Middlesex
TROTTER, Isabella L  Sister   Single  F  27  1854  Income From Divds  Mylebone, Middlesex
TROTTER, Margt A     Sister   Single  F  21  1860  Income From Divds  Mylebone, Middlesex
FOSTER, Sarah        Servant  Single  F  21  1860  Ladys Maid         Acton, Suffolk
ALLEN, May A         Servant  Single  F  33  1848  House Maid         Panfield, Essex
CHAPLIN, Eliz        Servant  Single  F  30  1851  Cook               Chitterne Bottom, Wiltshire
SCANNELL, Ernest A   Servant  Single  M  16  1865  Footman            British Subject, France

RG number: RG11 Piece: 147 Folio: 38 Page: 15    

Registration District: Marylebone Sub District: St Mary
Enumeration District:  Ecclesiastical Parish:

Civil Parish: St Marylebone Municipal Borough:
Address: 40, Montagu Sq, St Marylebone
County: Middlesex
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A biography has been published of her “I Lilias Trotter   Founder of the Algiers Mission Band” by Blanche A F Pigott, publised by Marshall, Morgan & Scott Ltd, London and Edinburgh in 1930.  And, in 2020, there is a website devoted to her at <https://ililiastrotter.wordpress.com/about/>;.
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Women artists in Ruskin's circle (act. 1850s–1900s)

The other woman discussed by Ruskin, (Isabella) Lilias Trotter (1853–1928), was completely unknown, and was not an artist by profession but a committed evangelical, at that point working for the YWCA in London. She was born on 14 July 1853 at Devonshire Place House, Marylebone, the seventh child of Alexander Trotter (1814–1866) of Dreghorn, Midlothian, a businessman, and the eldest of his second wife, Isabella Strange. She was educated at home in London by French and German governesses and was encouraged by her father in scientific and artistic pursuits; in the summer the family travelled on the continent. After the death of her father in 1866, she developed a new seriousness, and in the mid-1870s she attended with her mother evangelical conventions at Broadlands and Oxford; she sang in a choir during the Moody and Sankey revival of 1875. It was on a visit to Venice in October 1876 that she met Ruskin. Discovering that Ruskin was staying at the same hotel, her mother asked whether she could show him some of her daughter's watercolours. As Ruskin recounted in the Slade lecture: ‘I saw there was extremely right-minded and careful work, almost totally without knowledge. I sent back a request that the young lady might be permitted to come out sketching with me.’ He commented on her learning ‘everything the instant that she was shown it—and ever so much more than she was taught’, and went on to display her drawings of peasant life in Norway, commended for conveying the same attributes of Christian simplicity which Francesca Alexander was doing in Tuscany (Complete Works, 33.280–81). Her Norwegian notebooks were to form part of Ruskin's gift to the University of Oxford. She visited Brantwood regularly with her brother and sometimes her sister, and drew under Ruskin's encouragement. But in 1879 she was to decide that she could not commit herself to painting ‘in the way he means, and continue still to “seek first the Kingdom of God and His righteousness”’ (Stewart, 19). She worked for the YWCA, took a Bible class at the Welbeck Institute, and began to hold meetings at her own home in Montagu Square for women in the business houses of Oxford and Regent streets. In 1886 she bought a nightclub to convert into a restaurant for such women; and she worked at night among prostitutes. She continued to paint and to send sketches to Ruskin, who felt, however, that her work was deteriorating:
The power in these drawings is greater than ever—the capacity infinite in the things that none can teach; but the sense of colour is gradually getting debased under the conditions of your life … Technically you are losing yourself for want of study of the great colour masters. (ibid., 22–3)
In 1888 Trotter went to Algeria as a missionary, where she worked until her death, publishing Arabic translations of the gospels and organizing conferences for the missionaries of north Africa. At the same time she responded passionately both as an artist and as an evangelical to the landscape and colours of Algeria. Fascinated by the vivid sapphire blue of Kabylian berries growing deep under matted grass, she tried to paint them ‘to show what God can do with the very feeblest ray; but the blue is an unattainable colour’ (Master of the Impossible, 19). In 1926 she published a little story, Focussed, written for the YWCA, in which she used a similar image of a dandelion, catching a shaft of sun in a dark wood: from this she developed the metaphor of the lens to press the need for everyone to choose on what to focus and not to dissipate energy. Her aesthetic comments on detail and line, in Africa and on trips in Switzerland and north Italy, continued to show a strong Ruskinian sensibility. Until her death she sent watercolours of people, places, and plants—often in a bold and independent style—to him among others. She died in Algiers on 27 August 1928.
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