The museum proposes three tours in its new installations. In the first place, the main route, hall to hall, beginning from the central patio and going up the stairs to the various floors. Secondly, the visitor can choose a thematic or purely chronological view, thanks to the museographic flexibility of its exhibition space. Finally, there is the third option of visiting the building in order to appreciate its architectural value, centred in the special nature of the tower, patio and garden in the house, its spatial design as a typical dwelling in Granada standing out.
Given the character of the museum objects and the period to which most of them belong, (the 19th century), a decision was made to base the theme of the permanent exhibition on this historic period, with an intention to widen this chronological limit in the future and bearing in mind that the temporary exhibitions hall can always be used to expand the numerous aspects of the theme of the exhibition space.
In the main tour through the permanent collection, with exhibits from the 19th century, a chronological criteria has not been followed; rather a view of the most significant themes of this century has been given which, constant throughout the century, have marked the identity of Granada. Consequently, the tour is initiated in the first hall which brings the visitor closer to the image of the city, transmitted throughout time by a number of artists who have contributed in establishing it, at both a local and global level. In the next two halls, a basic element in the understanding of this historical moment of the city, orientalism, is explained, which, in Granada, had an internationally famous point of interest, the Alhambra. Hall four complements the abovementioned halls, and is dedicated to the memory of the visitors who arrived in Granada throughout the 19th century. Foreign travellers, such as Washington Irving, one of whose portraits is exhibited, and Spaniards, such as Santiago Rusiñol, whose painting Jardín Abandonado (Abandoned Garden) \"is exhibited.
Halls 5 and 6 are based on industrial art from Granada: earthenware, metal work, the fabrics from Alpujarras, the brass streetlights and, above all, the Fajalauza ceramics. Costumbrismo also holds a significant place in 20th century Spanish culture, reflected in hall 7, where racial myths of the Spanish people are protagonists, with special reference to Granada: the bullfighter Frascuelo from Granada, (1885). the water carriers of Avellano, the gypsies from the Sacromonte caves, etc.
On the lower floor, hall 9 recreates a nineteenth-century living room, with portraits of women by artists from Granada and documentary and graphic references to the most relevant women in Granada at the time. There are similar images in the next hall, together with other testimonies of cultural life in the city during the 19th century: theatre posters, leaflets, photographs and printed matter; not forgetting the literary salons such as \"La Cuerda Granadina\". Through press, hall 11 documents the historic evolution of Granada, from the Napoleonic invasion to the social and urban changes which the city experienced around 1900. This tour ends in hall 12, where the largest festival of the city, Corpus Christi, is on show in posters and lithographs.
Having knowledge of the collection exhibited, it is easy to propose or embark on other tours or visits, from other points of view, such as a purely chronological view or the possibility of following the history and evolution of various artistic techniques such as prints of photography.
Finally, we would recommenda visit with the building as protagonist, beginning with the spaces in the museum which recall the time it was the palace of Gil Vázquez Rengifo and subsequently of the Granada Venegas family also known as the marquis of Campotéjar, of which paintings of animals on the ceiling are preserved in the hall; we then follow on to the main stairway, where a collection of portraits of Spanish monarchs from the House of Habsburg, contributed by the Generalife is exhibited; the small staircase from the 16th century with wall paintings of the virtues; and finally the Cuadra Dorada (Golden Room), the main room in the building, containing remains of wall paint and a rich wooden alfarje decorated with relief scenes of the most important characters in Spanish history until the reign of emperor Carlos V.