What survives is only the central portion of a crosshead, roughly six centimetres thick, yet the carving it carries is considered and deliberate: a small circle at the centre, enclosed by a Greek cross set at a diagonal, the whole shaped into a square whose corners have been hollowed out into concave curves.

The piece was described in detail by Harold Leask in his 1950 study of Glendalough, a carefully documented account of the national monuments at the site then vested in the Commissioners of Public Works. Leask's description is precise enough to suggest a sculptor working within a known formal vocabulary. The Greek cross, in which all four arms are of equal length, appears frequently in early medieval Irish stonework, and the diagonal placement here, rotated forty-five degrees so that the arms point to the corners rather than the cardinal points, gives the design an almost geometric abstraction. The hollowed angles soften what might otherwise read as purely schematic. As a crosshead fragment rather than a complete standing cross, it occupies an ambiguous position, substantial enough to preserve its ornamental logic, incomplete enough that its original scale and setting remain uncertain.