That detail alone sets it apart from most of what surrounds it on that wind-scoured limestone outcrop, where the architecture tends toward the ecclesiastical and the powerful.

The slab is rectangular, just under two metres long and less than a metre wide, and carries a seven-armed segmental cross carved in relief, with each arm ending in a stylised fleur-de-lis. At the junction of the cross-head and shaft, and again at the base of the shaft, a motif of three cross-bands provides a kind of punctuation to the design, which is further grounded by what is described as an elaborate pillar-base form. Two cracks now run across the stone, one at the base of the cross-head and another through the centre of the shaft, giving the slab a fractured quality that does nothing to diminish the inscription running along all four sides and down the shaft itself. Cut in Black Letter, the script reads in Latin: here lies Edward Connoire, burgess of Cashel, who died on the sixth of June 1531, and Honoria Casey his wife, who died on the twenty-eighth of April 1524, and their son Matthew Connoire, whose date of death the damaged stone no longer yields completely. The inscription closes with a prayer that God be merciful to their souls, followed by the prompt for a Pater Noster and an Ave Maria. The Connoires were not nobility; Edward's title of burgess marks him as a settled, propertied townsman, a member of the civic community of Cashel rather than its ecclesiastical hierarchy, which makes his family's presence in the cathedral choir quietly unusual. The slab was transcribed and translated by Fitzgerald in the early twentieth century and later described in detail by Maher in 1997.