Moreover and also like Prof. Reichenbach, Prof. Goodale first learned of Leopold and Rudolf Blaschkas' skill per an exhibition – that being the glass marine invertebrates belonging to the Museum of Comparative Zoology. And, like Reichenbach, upon seeing the Blaschkas' work Goodale was instantly sure that they held the answer to his showcasing problem. Thus, in yet another direct historical parallel, in 1886 the Blaschkas were approached by Goodale for the sole purpose of finding them, with a request to make a series of glass botanical models for Harvard. Naturally Leopold was initially unwilling as, again, his current business of selling glass marine invertebrates was booming; but, eventually, the famed glass artists agreed to send test-models to the U.S. and, although damaged in customs, the fragments convinced Goodale that Blaschka glass art was a more than worthy educational investment. Thus, with the generous sponsorship of Elizabeth C. Ware and her daughter Mary, the initial contract was signed and dictated that the Blaschkas need only work half-time on the models, thus allowing them to continue their production of the Glass sea creatures. However, in 1890, they and Goodale – acting on behalf of the Wares – signed an updated version that allowed Leopold and Rudolf to work on them (the Glass Flowers) full-time; though some sources describe the agreement as a shift from a 3-year contract to a 10-year one. Regardless, the production and time of the Glass sea creatures was over, their fame as well as the attention of their makers shifting to the Glass Flowers – a project that, fifty years later, ended with the death of Rudolf Blaschka (Leopold having died thirty-nine years earlier).