Enlarged with AI from a smaller original
Colourful Celtic knot chest piece with flowers
Neo-trad · Chest · Mixed · Photo
A large chest piece framed by grey Celtic knotwork at the neckline and lower edge, with a central triquetra-style knot. Inside the frame, vivid flowers, leaves and an animal form sit against a green and blue background. Bold outlines and soft colour blending are visible, and the design fills the chest symmetrically.
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A story inspired by this tattoo · fiction
The gate was meant to be finished before the Michaelmas fair, but Tom Ashby had let his forge go cold twice that week, and the knotwork on the top rail still had two loose ends. I sat on the anvil stump and watched him bend a length of iron into a loop that never quite closed. "It has to go round three times," he said, "or the bad weather gets in." My grandmother had told me the same thing about hedges.
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Beyond the last cottage the wood began, all green light and blue shadow, and in it lived a red vixen who had taken to bringing her cubs to the orchard wall. Mrs Pryce left windfalls for them on the flat stone. Nobody called it charity. The vixen's coat was the colour of late apples, and when she turned to look at us her eyes caught the lamplight the way the enamel on the old reliquary did in the church.
The fair came and the gate was hung with its loose end still open, because Tom said a closed knot was only for coffins. On the night of the fair I walked the edge of the wood with a lantern. Foxgloves, cow parsley, a wren singing somewhere as though it had been paid to. The vixen was sitting on the stile. She looked at the lantern, then at me, then trotted into the ferns with the cubs in a line behind her, weaving through the stems the way a ribbon turns on a wrist.
Next morning Tom found a handful of crab apples tied to the gate's loose end with blue thread. He did not ask me who had left them. That night he closed the loop, and I have not looked at the wood the same way since.
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