"...I was consecrated (to God) from when I was still a child, nobody on earth has ever given me this title (Our Lady of Consecration), but it pleased me to bring it down to you myself so that you will tell them about this new title and the abundance of graces it is shedding upon the world."
The Blessed Virgin to Guza Mifsud
The Apparitions - Our Lady
GUZA'S FIRST VISIONS
What lead to the titles "Our Lady of Consecration" and "Our Lady of Girgenti"? How did they come about? What were the messages given during these visions?
Guza Mifsud reports as follows: " In the past, I have always stated that contact with Our Lady started in the 1950's. Now I can reveal that the visions began earlier. I must have been around fifteen years and seven months old when I first saw her.
Such visions would normally occur at night. She first appeared to me in what looked like a sea-cave. She had the rosary beads in her hands, her eyes were moving, and I heard her saying something about the Rosary. As I slept with my family I thought it best not to mention anything at first. However, they sometimes asked me why I used to be so frightened and what made we weep. I was, of course, also enchanted with these visions because Our Lady revealed many wonderful things. These visions continued until I was twenty-six.
Then, one evening at home I had just finished having supper with my mother and we were getting ready to recite the rosary together. At the time I had already started urging people in our Parish to consecrate their homes to the blessed heart of Jesus and Mary. That evening right after the rosary and around a quarter to midnight I heard a voice telling me: 'Guza defend the honour of God from the despicable habit of swearing.' To tell the truth I did not give this much thought since I put it down to a figment of my imagination. Nevertheless I kept on praying to Our Lady to inspire me. I kept hearing this voice for about three weeks."
Guza spoke of this to her confessor Fr. Gorg Mercieca and Fr. Gorg Preca who both urged her to work and act on the words of the Virgin Mary. Guza who lacked schooling was troubled and confused as to what to do, but both priests reassured her that if the Blessed Mother had chosen her for some special service she herself would lead her and show her the way.
Guza says that she wrote about five letters to Sir Paul Boffa, who was Prime Minister at the time, urging him to enact a law against swearing which was bringing great shame to our country and deeply hurting the heart of the Blessed Virgin. Whilst attending the Congress of the Blessed Name of God held in Paola, the Archbishop Michael Gonzi announced that the Government was going to pass a law against swearing.
Guza claims that when she was about twenty eight years old, "While I was in bed at night, I felt someone close to my bed. When I opened my eyes I saw this unearthly being which impressed me so much that I started to cry, whether it was through happiness or fear I do not know. My insistent crying woke my mother up who wished to know what happened. I asked whether she saw anything near my bed, but she answered that there was nothing and told me to go back to sleep.
I then heard the voice of Our Lady who assured me that it was she who had inspired me to send letters to the Prime Minister of the time (Sir Paul Boffa) to urge him to enact legislation against blasphemy. I saw Our Lady as she appears in the painting in my home. Of course she was infinitely more beautiful as I saw her than as she appears in the picture.
Our Lady instructed me to paint a picture of her. She also wanted the cape to be shaped like a faldetta, such as in the old days was worn by Maltese women to cover themselves. In fact, the front of the cape is similar to that of the faldetta under which she would protect the child in her arms. I told her that I was not capable for my hands are poor (not talented). But she said, 'Do everything, and say you've done everything under my direction. Take up your book of prayers and devotions which is in your chest of drawers. There is a holy picture of me holding the Baby Jesus in my arms. On that picture, preserve all that you can see in me now, but leave out what you do not see and add what is missing.'
Early the following morning, after my mother left for mass, I took out the holy picture Our Lady had indicated and with a red chalk I drew the dress. Then with a blue ball-pen I drew the long cape because on the holy picture there was only a light blue veil reaching down to the shoulders.
I must state, first of all, that on the original picture there was no crown on Our Lady's head. But when I saw Our Lady I saw a crown on her head, which undoubtedly was much more beautiful and perfect than the one I drew. The cross was much smaller but my untrained hand went further than it should have. I first outlined the cross on the crown in pencil, and then with a blue ball-pen. On my initiative I then drew the lines which can be seen to the side of Our Lady to give an indication of the bed I was on when I saw her. When I initially drew the picture, there were just a few lines, but by time these lines spread and softened.
Our Lady then appeared to me and told me to take the picture I had drawn for enlargement at a photographer's. So a month or so later I went to a photographer who did the job without asking any questions. I went twice to this photographer, first on my own and then with my old friend Roza Balzan, today a Sister at the Home for Retired Clergy.
After the photo was done, I saw that the original picture which I had painted over had become somewhat dirty and so a couple of months after these events I tore it up and threw it away. I must add that when I apologized to Our Lady for the way I had drawn her, especially with regard to the crown, she said, 'It's a good likeness. I have allowed such defects as a proof that this is the work of poor and humble hands.'
Finally, I must add that it was Our Lady herself who ordered me to write the words 'Our Lady of Consecration', because she told me, 'I was consecrated since when I was a child. Nobody on earth has ever given me this title, but it pleased me to bring it down to you myself so that you will tell them about this new title and the abundance of graces it is shedding upon the world...' I first wrote the words 'Our Lady of Consecration' in my own way but they were then re-written by the photographer under my direction."
Guza states that besides the painting entitled Our Lady of Consecration, she did another painting depicting how she saw the Blessed Virgin on the loquat tree at Girgenti and named this painting Our Lady of Girgenti. That day Guza saw the Blessed Virgin wearing a white dress, a blue veil and held the rosary beads in her hands. In a message which Guza Mifsud recorded on May 4, 1991, she recounts as follows: "...It was on the eve of Mnarja (the feast of St. Peter and St. Paul celebrated annually on 29 June) and people used to flock to Buskett in Rabat in huge numbers. Buses passed by us towards Buskett so that people would attend the agricultural, fowl and fruit show. There was a whole procession of buses, as I look at them now I can count as many as twenty buses...
On the evening I am telling you about, around 4.15p.m. I had an important contact with Our Lady. I had been seeing things since about 1.15p.m. On the loquat tree I could see a great light, and I thought and said to myself, 'Holy Mother, what's happening? What is happening today? The sun seems to have landed on this loquat tree.' Issuing forth out of this loquat tree I could see rays of sun shaped like swords.
From side to side, the valley was full of cane, large and tall, but I had made a clearing so that I could pray there. I used to spread out a sack on the ground, sit on it, and start reciting the rosary, praying and thinking about what Our Lady would have revealed to me earlier at home. Out of this loquat tree there issued rays of light, large rays of light. And I said to myself, 'These rays, they're like rays of silver changing colours beautifully, purple and pink. I don't know what rays they were, mysterious rays. They were like silver and golden rays.
Then I could sense and see movement, and I could see life on the tree. Now I tell you that that tree couldn't have supported a live cat, because it was coming out of this valley just on its roots. In fact, when Our Lady told me to include the tree in the picture, I tried my best to show just its roots, only roots. When we went up to Girgenti some time before we publicly opened Our Lady of Girgenti's message, my brother Kola told Mgr. Buontempo, 'We never sowed nor planted that tree. It's as if it grew by itself for that special reason.' And Mgr. Buontempo asked, 'And what happened to the tree?' My brother replied, 'When the valley was flooded during the October storms in 1979 the tree was washed away.'
But let me continue. Then I could hear revelations coming from Our Lady telling me, 'Pray hard for these people who are going to Buskett for entertainment because some will even commit sins. Pray also for all sinners especially now that abuses and immodesty flourish on the beaches.' Now that was a long time ago, imagine what Our Lady would say today. So I urge you, we need to offer our sacrifices; we need to pray harder because since that time immodesty in dress has become widespread, as Our Lady of Life has assured me.
I remember my mother calling me, 'Guza, Guza' and gesticulating, 'How long will you be staying in the valley? It's already late.' It was a Saturday and she wanted to walk to Siggiewi so that on Sunday she'd hear mass there. She told me, 'It will soon be time to leave for Siggiewi.' I stayed in the valley for a short while, and then Our Lady and I greeted and saluted each other..."
These were not the only visions that Guza claims to have had of Our Lady; because she maintains that she kept seeing the Virgin Mary up to her death in October 1996. However, these visions gave rise to the two drawings entitled 'Our Lady of Consecration' and 'Our Lady of Girgenti'. Hundreds of thousands of holy pictures have been made of the drawing of Our Lady of Consecration depicting the Virgin Mary holding the child Jesus in her arms. These have been distributed world-wide. The drawing 'Our Lady of Girgenti' inspired the statue that was placed at Girgenti on May 5, 1986. This statue was made by Anton Agius. Originally it was terracotta colour, but in 1991 someone secretly painted the statue a chocolate brown colour. Someone else (again without permission) painted the dress white and the veil a very light blue. That was why the Committee then took measures to have the veil painted a darker blue, as it still is today, in order to resemble the way Guza saw the Blessed Virgin on the loquat tree.
When Guza attended the April 1991 prayer meeting at Girgenti and saw the statue as had been painted, she said, "Our Lady in her glory is in Heaven. Nobody can actually make a perfect image of her. Do not think that this statue resembles Our Lady! No hand can paint Our Lady except He who created her and brought her into the world. If you could see Our Lady's beauty you would be struck dead."...
Further information may be obtained from the series of books entitled 'The Founding of a New Titular'.