Enlarged with AI from a smaller original
Treble and bass clef heart design
Black and grey · Flash
A pencil drawing of a tattoo design showing a bass clef and a treble clef arranged so that their curves form a heart outline. Two small dots sit to the left of the bass clef. The linework is soft and the forms are shaded in grey tones to give them volume, on a plain white background with a black border.
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A story inspired by this tattoo · fiction
Put that umbrella down, love, you're dripping on the mackerel and the fishmonger's glaring at you. Come under the awning. Right. You want the one with the heart in it? Everyone wants that one.
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Ada Morrow sold tuning forks from a trestle at the back of Shudehill, under a tarpaulin that sagged like a hammock whenever it rained, which was every day in March. She kept a bass clef cut from brass and a treble clef bent from copper wire, and she never sold them apart. Her father had made them. He used to say a clef was only a letter that had forgotten its name, and the two of them were meant to lean on each other or they'd just be ornaments.
A man came one Thursday, soaked to the knee, with two small brass dots in his coat pocket. He wanted to buy the pair. Ada said no, they were a set. He said he didn't want the pair, he wanted to know which way the heart was meant to point. She didn't know. Nobody had ever bothered to lay them side by side on a table and look.
So they did. The bass curled one way, the treble the other, and when she held them so the curls met, a heart came up out of the grey light like a fish rising. The man laughed, paid in coppers, and two of them rang off the brass. Nobody knows where he went. But the copper clef still hangs above Ada's trestle, and if you look at the dots, you'll see they're worn smooth on one side, where somebody counted out his change on them twice before he walked off into the rain.
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