The museum's most striking quality lies in how different decorative elements have been harmoniously blended, from Chinese ceramics to Portuguese and French furniture, Dutch and Flemish paintings, watches and jewellery to textiles, silversmith, and fans.

It opens up to a central corridor that connects the main reception rooms and gives access to the upper floor, where the private apartments were located.

The entrance gallery displays a relevant set of oils on wood by Jan van Goyen, quite illustrative of the aesthetic evolution of one of the first Dutch landscapists.

[1] In this room, the Medeiros e Almeida couple welcomed family, friends, and countless Portuguese and foreign social, political, and high finance guests.

On one of the tops, there is an unusually large cupboard, made of glass-panelled sections, displaying some of the collection's sets of Chinese porcelain dinner services used on festive occasions, a rare set of early 19th century British and Irish prismatic cut crystal vessels, and a collection of glass and biscuit cameo pieces, from the beginning of Portuguese Vista Alegre factory production (1837–1846).

[1] In his office, the collector dedicated some time to reading books, art magazines, and auction catalogues, indulging his passion, trying to broaden his knowledge in the areas that interested him most, or finding one more artwork to complete his collection.

This room is a recreation of a Louis XV ambience and owes its name to the 19th century ormolu-mounted grand piano by Erard (1880–1890), It is lined with carved oak panelling and a Portuguese chestnut caisson ceiling, painted with colourful scenes depicting daily life.

Paintings by Giovanni Domenico Tiepolo (1727–1804), a portrait by George Romney (1734–1802), or the Resurrection of Lazarus by the Dutch painter Jacob Willemz de Wet (ab 1610- after 1677) are also shown in this space.

The first showcase displays the terracotta and proto porcelain collection, including pieces from the Han, Tang, Wei and Song dynasties.

Pieces marked on the base with imperial marks, made for the domestic market, stand out, such as a large vase painted with auspicious symbology, dating from 1760 to 1790, supported by two small male figures, depicted on their knees or a vase painted in gold and decorated with medallions of polychrome flowers, with a large bow in the bulge on which a child is supported, dated 1670–1680.

The monumental mid-18th century Indo-Portuguese pulpit, made of carved, multi-colored painted wood, is originally from the Church of Our Lady of Monte in Velha Goa, in India.

The room also holds a set of display cabinets containing religious vestments, including an embroidered velvet antependium from 1592, pluvials and six silk brocade and lace chasubles from the 18th and 19th centuries.

In 1921, the house was sold, and some renovations took place,  including the addition of a garage, another floor, a turret with a lift and a slate roof, giving the building its current exterior appearance.

On 22 December 1943, Medeiros e Almeida and his wife, living on Rua do Salitre, purchased the house, which was close to António's parents home, no.

Medeiros e Almeida hired the prestigious architect Carlos Chambers d’Oliveira Ramos (1897–1969) to carry out the remodelling and improvements necessary for the couple to move in.

To keep the entire collection together and aware that it would continue to grow and needed more exhibition space, AMA ordered the construction of a new wing in the garden.