Enchanted by the botanical models, and positive that Leopold held the key to ending his own showcasing issue, in 1863 Reichenbach convinced and commissioned Leopold to produce twelve model sea anemones. These marine models, hailed as "an artistic marvel in the field of science and a scientific marvel in the field of art," were a great improvement on previous methods of presenting such creatures: drawings, pressing, photographs and papier-mâché or wax models. and exactly what Prof. Reichenbach needed. Moreover they, at last, provided an outlet for the wonder Leopold had felt all those years ago when observing the phosphorescent ocean life. The key fact, though, was that these glass marine models were, as would soon be acknowledged, "perfectly true to nature," and as such represented an extraordinary opportunity both for the scientific community and the Blaschkas themselves. Knowing this and thrilled with his newly acquired set of glass sea creatures, Reichenbach advised Leopold to drop his current and generations long family business of glass fancy goods and the like in favor of selling glass marine invertebrates to museums, aquaria, universities, and private collectors. Advice which would prove wise and fateful both economically and scientifically, for Leopold did as the Dresden natural history museum director suggested.