The stone is circular, just 22 centimetres across, and only part of it is visible; the rest is swallowed by the wall. What can be seen is a raised interlace design, six loops worked into a hexagonal pattern, the kind of deliberate, careful carving that does not end up in a shopfront by accident.

A 1987 urban survey of Kerry, drawing on earlier fieldwork published the previous year, placed this fragment and its neighbours tentatively in the seventeenth century. Green Street alone has at least three such stones across two buildings. On the same gable as the circular piece, lower down, a square plaque shows a pair of birds facing each other on a perch, enclosed within a raised border. Across the street, on a house that was once adjacent to a premises called Hands Accommodation, a larger square stone carries a more elaborate scene: a bird gripping a smaller bird in its claw, a third bird in flight above them, and, above the whole composition, the letter M accompanied by three dots. The significance of that combination, the initial and the dots, has not been firmly established, though it may point to an owner, a craftsman, or some form of civic or merchant marking common in early modern Irish towns. Interlace as a decorative technique has a long history in Irish stonework, stretching back through medieval ecclesiastical carving, but its appearance here in a secular, urban setting gives these fragments a slightly different character.

All three stones remain embedded in functioning buildings on Green Street, which means they are visible from the pavement rather than held behind any barrier. The circular stone with its looped interlace is the one formally recorded, its lower portion still obscured by the fabric of the building around it.