The slab itself is a thirteenth-century piece of tapering limestone, 1.42 metres long, narrowing from just over half a metre at the head end to 0.38 metres at the foot. What makes it worth lingering over is the carving at its top: a projecting male head with curling hair falling below the ears, and beneath that a four-armed cross with fleur-de-lys terminals, the decorative lily-shaped flourishes common in medieval ecclesiastical stonework, along with a circular knop, a small rounded boss, on the shaft below the cross head. A partial inscription in lombardic lettering, the rounded, decorative script typical of medieval European monumental carving, runs along the top right-hand side. The legible letters read H (or P) ARES: AREVI, though whatever name or dedication the full inscription once carried is now lost to damage.

The slab originated in the Franciscan Friary in the town of Cashel, a medieval foundation set below the famous rock rather than upon it. At some point it was broken into two halves, which became separated, the upper portion later recorded by the art historian John Hunt in the 1970s when it was housed in the grounds of a convent that had been established on the friary site. The lower half's whereabouts during that period are less clear, but the two pieces have since been brought together and moved to their current home in the Vicars Choral, the late medieval building on the Rock that once housed the clergy responsible for maintaining the cathedral's daily liturgical music. The slab now sits in one of the more quietly absorbing corners of a complex that tends to draw visitors towards its grander architectural features, the round tower, the Romanesque chapel, the roofless Gothic cathedral, leaving this reassembled fragment of a forgotten individual's memorial to attract less attention than it deserves.