Cross-pollinating little-known textual, visual, and architectural sources, this paper will tell of a rich history of artistic exchange that was severed in the early 1940s. From the late nineteenth century, wealthy Parsi patrons imported into Qajar and later Pahlavi Iran, an architectural style that could be dubbed, the Persian Revival. Its primary purpose was--from as early as the 1830s--to confirm, in stone and concrete, to confirm the common artistic and racial origins of the Parsis and the Iranians. Minister of Public Instructions Ali Asghar Hekmat quoted the king’s 1932 open arms invitation to the Parsis, “…the sons of Iran though separated from her, should look upon this country of to-day as their own, and differentiate it from its immediate past, and strive to benefit from her developments.” The first to contribute to Reza Shah’s development of modern tourism were young Parsi boys from wealthy families in search of the Urheimat. By then, too, both male and female Parsi patrons from Bombay were heavily invested in erecting significant educational and religious buildings at the heart of Reza Shah's Tehran and elsewhere throughout the country in this new and entirely invented prototype that professed its antiquity. The grand neo-Zoroastrian façades of the Peshotanji Dossabhai Marker Orphanage and School (1934) in Yazd, the Firuz Bahram High School for boys (1932) in Tehran, the Anushirvan Dadgar High School for girls (1936) in Tehran, and the mausoleum of Ferdowsi (1934) in Tus are esteemed not only as early examples of "Reza Shah's architecture" but also influential prototypes to the national canon of architectural aesthetics and Pahlavi conception of good taste.