The request is not subtle. Carved in Black Letter Latin around the border of the slab, and running in two further rows along its base and right side, the inscription addresses the reader directly: pause, pilgrim, remember your lot, for as I am dead today, so you shall be tomorrow. The slab measures just over two metres in length and belongs to Peter Morgan, identified in the inscription as a burgess of Fethard, son of John Morgan and Catherine Mulrony.

The carving across the surface of the slab is dense with meaning. A three-armed cross rises from a curving calvary mount, its terminals shaped as fleur-de-lis, its crosshead ringed with a crown of thorns. A sun occupies the upper right corner and a moon the upper left, a convention in medieval and early modern iconography for marking the moment of the Crucifixion. Flanking the shaft on both sides are arma Christi, the instruments of the Passion, a devotional tradition in which objects associated with the suffering of Christ were arranged as a kind of theological inventory. On the right side, beneath the initial P, a cock perches on the scourging pillar, accompanied by whips, scourges, a reed sceptre, and the sword of Saint Peter. On the left, beneath the initial M, a ladder, pincers, pieces of silver with their bag, the seamless garment, and a jug and ewer complete the catalogue. The date of the slab has been read differently by two nineteenth-century scholars: one transcribed it as 1631, the other as 1671, and the inscription itself is no longer clearly legible enough to settle the matter. The church in which it lies was originally the medieval parish church of St John the Baptist, and the slab's survival in situ, beneath the feet of later congregations, is itself a small accident of continuity.