Enlarged with AI from a smaller original
Lion and lamb on an upper arm
Realism · Upper arm · Black and grey · Photo
A large realistic lion's head with a full mane fills the upper part of the design, with a lamb lying down in front of its body and a soft cloud shape below. The work uses detailed black and grey shading, with fine texture in the fur and smooth tonal gradients across the wool and clouds. The design wraps over the upper arm and shoulder, with the lion's face angled towards the viewer's right.
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A story inspired by this tattoo · fiction
The lamb would not get up, so the lion lay down beside it in the bracken above Porthven, and that was how the fishermen's wives found them at first light, the great grey head resting on its forepaws and the small one tucked under its shoulder as if it had always been there.
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Nobody in the town had seen a lion before. Old Mabel Trewin, who kept the chandlery and believed in very little, said it had come over the sea in the night on the back of the fog, and that the fog had gone back out again carrying the ship's bell. Her nephew Tom said it was a circus beast that had jumped the rail at Falmouth. Neither story explained why the lion would not hurt anyone, nor why it kept its eyes on the church tower as if waiting for the bell to ring.
Tom went up with a bucket of salted mackerel and set it down a yard from the lion's nose. The lion did not look at the fish. It looked past him, down the valley to where the harbour wall ran out into the grey water, and it made a low sound that rolled the length of the cliff. Then the lamb lifted its head, bleated once, and the cloud that had sat on the headland all week began slowly to lift.
By noon the lion had gone, and the lamb with it, and there was only a flattened patch of bracken and a single white curl of wool caught on the gorse. Mabel kept it in a tin on her shelf. When the boats were late, she would take it out and turn it over in her fingers, and say the lion had gone home, which was more than she could say for the bell.
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