Four tattoo design drawings on a white background: an outlined infinity loop with heart ends, a treble and bass clef forming a heart, a grey Celtic heart knot, and an infinity loop with two red

Enlarged with AI from a smaller original

Infinity hearts, clef and knot design sheet

Mixed · Flash

This sheet shows four tattoo designs. The top left is a bold black outline of an infinity symbol with heart-shaped loops, and the top right combines a treble and bass clef into a heart with two small dots. The bottom left is a grey, shaded Celtic-style heart knot, and the bottom right is a thin-lined infinity loop with two red shaded hearts.

Infinity Heart Treble clef Bass clef Celtic knot

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Take it to an artist as a reference. A good artist will make it yours rather than copy someone else's tattoo.

A story inspired by this tattoo · fiction

Sit down, sit down, and mind the chair, it has one leg that is a cousin of the others. My grandmother used to say the Harrow Street band played one tune for forty years and never once reached the end of it. You won't believe me, but I was there for the thirty-ninth.

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The bandmaster was a man called Edwin Coyle, who wrote his music out by hand on the backs of old handbills. He had a habit of closing every page with a little sign like a figure eight lying on its side, and beside it two dots, so the players would go back to the top and begin again. Nobody ever told him the sign meant the tune should stop. He thought it meant something tender, and he drew a heart on either side of the loop, pressed so hard the nib went through the paper.

The circus had dwindled to four wagons and a tent with a hole in it the size of a church bell. Each night they played the same waltz, the lion asleep through it, the children asleep on the benches, and each night somebody in the crowd would hum the last bar too early. Coyle would smile, lift his baton, and turn the page. Whatever else you say about him, he never once looked at the clock.

The winter the money ran out, the girl who played the cornet walked to the station with the score buttoned inside her coat. She left it on the empty stand under the bass drum, the two dots facing the door. When they came to pack the tent in spring they found the paper worn thin at the loop, and they laughed and said nothing needed mending. I still hear that waltz on a cold platform, and I still turn back to the top.