For several months, the aged artist was absent from his home in Queen-Anne Street. Finally, Hannah Danby, who had been his housekeeper for fifty years, and was said to have been his mistress, found a letter in the pocket of an old coat, which led her to believe he was in Chelsea. She and a relative sought him, and found him, December 18, 1851, very ill, in a small plain cottage on the banks of the Thames, owned by Sophia Caroline Booth. He was called "Admiral Booth" by her neighbors, who thought him an admiral in reduced circumstances. He died the day after his friends found him. An hour before his death, he was wheeled to the window to look out upon the Thames, and bathe in the sunshine which he so dearly loved. "So died," says Monkhouse, "the great solitary genius, Turner, the first of all men to endeavor to paint the full power of the sun, the greatest imagination that ever sought expression in landscape, the greatest pictorial interpreter of the elemental forces of nature that ever lived.... Sunlight was his discovery; he had found its presence in shadow; he had studied its complicated reflections before he commenced to work in color. From monochrome he had adopted the low scale of the old masters, but into it he carried his light; the brown clouds, and shadows and mists, had the sun behind them, as it were, in veiled splendor. Then it came out and flooded his drawings and his canvases with a glory unseen before in art. But he must go on, refine upon this; having eclipsed all others, he must now eclipse himself. His gold must turn to yellow, and yellow almost into white, before his genius could be satisfied with its efforts to express pure sunlight." Turner was buried in St. Paul's Cathedral, between the tombs of Sir Joshua Reynolds and James Barry, the service being read by Dean Milman. By his will, he left all his pictures and drawings to the nation, to be preserved in a "Turner Gallery," specifying that "The Sun Rising in Mist" and "Dido building Carthage" should be hung between the two pictures painted by Claude, the "Seaport" and "Mill." During his life he is said to have refused two offers of five hundred thousand dollars for the pictures in his Queen-Anne Street house. He left one hundred thousand dollars to the Royal Academy, five thousand dollars for a monument to himself in St. Paul's, a few small bequests for relatives, money for a medal to be given for the best landscape exhibited at the Academy every two or three years, and the remainder of a large fortune for the maintenance of "poor and decayed male artists being born in England and of English parents only, and lawful issue;" the latter gift to be known as "Turner's Gift."