It is a modest thing in terms of size, just over a metre long and tapering from roughly thirty centimetres wide at the top to twenty-three at the base, yet it rewards close attention. The carving on its surface is precise and deliberate, the work of someone who understood both geometry and symbolism.

The slab is limestone, and its decoration is incised rather than raised, meaning the design was cut directly into the stone rather than sculpted in relief. At the head, a four-arm fleur-de-lys cross sits within a double incised circle, with a floral motif at its centre. A shaft of four parallel lines runs down from this cross, narrowing as the stone itself narrows toward the base. There, a smaller version of the same cross appears again, this time within a single circle and with a central boss rather than a floral motif. Horizontal incised lines cross the slab above and below the head cross, framing it within the composition. One of these lines is less well preserved than the other, suggesting the slab has seen some wear or damage over time, though the overall design remains legible. The fleur-de-lys cross form was a common decorative choice in medieval Irish funerary carving, lending the stone a connection to broader European ecclesiastical art while remaining firmly rooted in local craft tradition. The double circle enclosing the head cross and the mirroring of the motif at the base give the piece an unusual internal logic, almost as if the carver was working through a problem of symmetry as much as commemoration.