Hecate's Magical Altar

We are referring to the Pergamene (Lower Pergamon) find acquired by the Berlin Museum in 1897, which consists of a magical table. The hoard contained several magical objects, but judging by the inscriptions, they belonged to different practices or, at the very least, were not all associated with the table itself.

The name "table" only partially describes its function. It could be called a portable altar, a stand for offerings, or a surface for divination. It is triangular in shape, with sides measuring approximately 26.5 cm. A central pillar rises 8.6 cm from the center of the triangle, topped by a 7 cm diameter disk. Crafted from bronze, this pillar serves as the actual table upon which one places objects for mantic practice, offerings, or a statue of the goddess.

On the reverse side, where the "shaft" or "leg" is located, are images of the three figures of Hecate. Each figure holds her attributes and wears a polos (πόλος) crown—a classic emblem of mother goddesses. Symbolically, these crowns resemble a temple.

Note that there are symbols on the edge of the table, visible along the very borders.
The names of the goddess in the illustration with her attributes:

Dione (Διώνη) — torch and whip.
Nyxia (Νυχίη) — serpent and sword. This name signifies "Nightly," from "νύχτα" (night).
Phoebia (Φοιβίη) — torch and key. The name signifies "Radiant," from "φοῖβος" (radiant).

The torches in the goddess's hands signify the moon's radiance and the phases in which it remains visible.
The key she holds symbolizes the mysteries she unveils, while simultaneously serving as the key to the waning moon's final month, which precedes the appearance of the new moon. The key is large, reflecting the design of antiquity rather than the modern form.
The whip represents authority, denoting the fullness of the deity's power.
The dagger or sword in her hand originally symbolized the midwife's blade used to sever the umbilical cord, signifying the birth of the new moon. We find this same symbolism in the serpent, which alone knows all the paths of the underworld, its journey ending only to begin anew.
Inscribed beneath each figure is the formula "AMIBOUSA." This word derives from the Greek "ἀμείβω," which, depending on the region and era, held two meanings—both of which are applicable. The first and most probable is "to change" (the changeable one). The second, rooted in more archaic concepts, signifies "to wander" (the wandering one). As is evident, both interpretations aptly describe the moon.

Along all sides of the table and tracing its contours are various magical symbols, which are clearly discernible in the illustration.

Magical words are inscribed around each of the figures to establish a connection with the deity. These figures seem to fracture the unified text, sitting within the stream of the incantation to which a specific aspect of Hecate must respond. The spells represent fairly classical antique formulas, where the precise symbolism of letters associated with the goddess intertwines with an imitation of the sacred sounds of her hypostasis—those sounds that draw her near (much like the cries of a falcon for solar deities). During these chants, the names of the powers ruling over the deity, or those of the Primordial God, are invoked to bind and command the summoned entity.

***Diana:
***ααα εεε ηηη ιιι οοο υυυ ωωω αλαλαλ ελελελ ιλιλιλ ολολολ υλυλυλ ωλωλωl αναναν ενενεν ηνηνην ινινιν ονονον υνυνυν ωνωνων αραραρ ερερερ ηρηρηρ ιριριρ οροροr υρυρυρ ωρωρωρ ασασασ εσεσεσ ησησησ ισισισ οσοσοσ υσυσυσ ωσωσωσ αψαψαψ εψεψεψ ηψηψηψ ιψιψιψ οψοψοψ υψυψυψ ωψωψωψ ιαω ευη ιαη ευοα.

Nuksiya:

ζαγουρη ευευευ ιωιωιω αεηιουω αεαεαε αηαηαη αιαιαι αοαοαο αυαυαυ αωαωαω ωαωαωα ωεωεωε ωηωηωη ωιωηωι ωοωοωο ωυωυωυ ωωωωωω.

The fragment "ωιωηωι" likely contains a typo and should read "ωιωιωι"; given the preceding fragment, the author may have simply typed the wrong letter out of habit.

Febiya:

Λουλου ζαρζαρ καθμαθ ουσ μημυλ αρθω μουσαφου μαρχιαλα ρισοαρηθ εουνφωρα ζωφρισ σαμου βερφορισ σαβρυχισ σαφαρισ μυθωναρ φουνισ νουναριφ αφιλωνισ φλωχαρεοφορε[?] σιωνενεβ ενθελησ σαβαρβωτ οισιωλιπαφαρ βορβορ ο[φ]ορ [β]αστρ ιαλαλαχ μαφυζαζαω ναυμιλ λοναθω Λαωρεο βαρβαρο φων [?]ιω Πασικρατια ιω Πασιμεδουσα ιω Παντα Εφεπουσα ιω Περσεφονη ιω Μηλινοη, ιω Λευκορυηνη.

At this point, the text concludes by listing epithets of the Mother Goddess: Pasikrateia (All-Sovereign), Pasimedousa (All-Protecting), Panta Ephephousa (All-Overtaking), Persephone, Milon (Apple-bearing), and Leukorine (Snow-white). While some letters are illegible, the phonetic context in several places makes it clear what they should be.

It is worth noting that the Full Moon (Diana) incantation mimics the cries of birds and beasts, much like a wild forest illuminated by bright moonlight. The New Moon, by contrast, echoes the cries of a newborn child. Finally, the Waning Moon (Phoebe) incorporates a multitude of articulate sounds and names.

It appears the table was set as a large triangle on a flat surface, while the primary work took place on a small pedestal with a platform only 7 cm wide. Likely, a mantic object—such as a bowl of water, a polished stone, or a mirror—was placed there to facilitate acts of divination or communion with the goddess. It is also possible that a statuette of the deity was placed on this pedestal for religious practice.

The fact that this is not a singular artifact, but rather part of an established practice and cult, is evidenced by the discovery of an identical item in Sardis (Asia Minor) in 2002 (published in 2015), now housed in the Manisa Archaeological Museum, though it features a broken leg. This specimen exhibits certain variations, most notably the absence of the extensive collection of spells and formulas found on the other. The goddesses bear lunar crescents upon their heads. The names also differ slightly: Diana is rendered as "Διον" and Phoebe as "Φοιβη," though these are minor discrepancies. In place of Nuxia, the name "Λυκια" appears as a local epithet.

Symbols flanking the table appear to identify with this goddess.

Back in the 1930s, during the extensive excavations when Belgian archaeologists uncovered the main colonnade and mosaics of Apamea, they discovered a similar artifact. It is currently housed in the Brussels Museum of Art and History.

This artifact is heavily damaged, yet its base and a small platform remain intact. Of all the depictions of goddesses, only one has survived, and it is inscribed with the name "Διωνη".