It’s a striking image. Marija Stosic’s grave marker has deep-chiseled text that casts stark shadows in the day’s bright sunlight. The minimal epitaph, Ovoi počiva u miru bozjem, is—if Google Translate is to be believed—Croatian for Rest in the peace of God. Above, we see the familiar empty oval cutout where a ceramic portrait of Ms. Stosic would have been inset when the stone marker was first installed.
The design of the monument features a carved cross at the top with an image of Jesus in relief. Sometime over the last 94 years, the top has broken off leaving the Beloved Son not only crucified but bisected at the waist. Marija Stosic’s tombstone rests with another couple dozen (at least) fellow graves in a plot that’s now overgrown with the kind of scrubby barbs that will make this place difficult to negotiate by the time spring returns.
To be honest, we didn’t think Loretto Cemetery would produce another Orbit story. Our two-parter, from way back in 2016, on Loretto’s fine collection of pre-war photo graves and the ones that just about slipped away seemed like all we’d be able to squeeze out of such a small memorial park.
This time though, with a return trip on a lovely full sun midwinter day, we went all the way to the back and the bottom. The cemetery has an L-shaped extension that reaches down the hillside and runs out where the closely-clipped grass meets untamed snags and prickly bushes … but the cemetery doesn’t actually end there.
Come springtime, it’s unlikely anyone would even have the sight lines into this extra, lost, forgotten—take your pick—section of the cemetery. We imagine the winter’s long grasses and denuded vinery will produce the same sort of thick greenery that envelopes every square inch of untended, asphalt-free Pittsburgh making this parcel all but invisible to Loretto’s visitors.
The obvious question: why did this section of the cemetery—a plot maybe a few acres large, containing grave markers almost entirely with Croatian names, deceased in the 1920s and ’30s—stop receiving the care the rest of the park has? In lieu of any real journalism, we’re left to speculate.
Theory 1: Cost savings for the cemetery. The geography of the hillside is just too severe and Loretto’s management decided they couldn’t justify the expense of sending their grounds crew into an untamable wild to tend a set of grave markers so old they rarely—if ever—receive family members.
Theory 2: This was never a part of Loretto and instead it was a separate, independent cemetery. We find these tiny cemeteries—often associated with a particular church, faith, or national origin—all over the place. They’re also often immediately adjacent to larger cemeteries. Perhaps the Hilltop’s Croatian community purchased or sub-leased this plot of land back in the 1920s with their own maintenance agreements that Loretto is not responsible for.
A wander through the cemetery—any cemetery—always brings up questions of permanence. Grave markers—cut from granite, weighing hundreds of pounds, placed on land with this specific purpose—carry the unrealistic expectation that they will exist in this state forever. But we know it ain’t going to play out like that.
In our previous story on Loretto’s photo graves we discuss the irony that some of the ceramic photos on grave markers have outlived the carved text, such that we don’t even know the names of people whose images we still have—and it’s been less than a hundred years.
Loretto’s forgotten cemetery takes that and says hold my beer. You’re not even guaranteed a reasonable way for visitors to access your plot—and it may have been that way for decades.
You’re still reading this? The rambling rarely stops, but here we are.
If you do want to check out Loretto’s forgotten cemetery, we recommend doing it before the poison ivy, viney overgrowth, and legit jaggerbushes come back to life.
* That should be something like Here rests the forgotten cemetery.