Ivan Meštrović cut a burial chamber into Jezerski Vrh at 1,657 metres and roofed it in gold. The walls are close-jointed polished granite; the barrel vault above them holds more than 200,000 Italian mosaic tesserae. A 28-ton Njegoš, carved from one block of black granite, sits under an eagle on the centre line.

This system takes the room literally. Dark stone as the ground plane, gold only where the vault would be, and never as a smooth sheen — always as thousands of discrete square units. Everything is axial, symmetrical, and heavy. Light arrives from one direction and stops.