Welcomed by an impressive adaption of Greek architectural style so far away from motherland Greece, the museum’s function of being a physical repository to the near inscrutable, curious manifestations of the artists’ ideals in the processing of culture that itself, be it a denouncement or pronouncement, becomes a contribution to culture, is epitomized by the magnificent, behemoth marble white colonnades dipped in gold that harks back to a time of gods hurled thunderbolts and pulled the sun by literal horsepower, and when the Parthenon was beheld as a novelty achievement of pragmatic human ingenuity whose regality now still remains as an instructive inspiration to aspirants hoping to find success in the architectural discipline. But look beyond its facade of palatial splendour that is enhanced by the bas-relief sitting at the pinnacle of the face depicting a holy ritual in progress that serves as the soulful eyes of the museum that visitors can gaze into to ascertain the quality of the museum’s purpose and the mural of motioned dalliances captured eternal in the deft craft of the painter responsible, and venture yonder the portico, into the museum where unlike the historical grandness of its exteriors, the interior of objective, minimalistic contemporary design that is adhered to so principally in fashion that is in the very walls of the museum, all splashed in silent, impressionable white as to give full prominence to the art pieces created by Hungarian sensibilities amidst a deluge of inspirations from other cultures. Sauntering from hall to hall, breathing the sweet air of an enchanting history of telling of the trumps of human creativity in vivid colours, the emptiness of an existence hungering for the stimuli that instils tremulous excitement would have been fulfilled.