Scattered around the perimeter of the well, which sits in a roughly D-shaped grove of trees and bushes on flat, poorly drained ground, are architectural fragments gathered from the medieval buildings that once stood nearby. They form a loose circuit of stations around the water, a practice common to Irish holy well devotion, but what makes this gathering unusual is the quality and variety of stonework pressed into service.

The fragments appear to have migrated from at least two sources. An octagonal font lies on the ground to the north of the well; it may have originated in the medieval church that stands 240 metres to the south-west, or in the now-levelled abbey a little further off, which belonged to the Fratres Cruciferi, an order known in English as the Crouched Friars, a minor mendicant order who took their name from the cross worn on their habit. To the west of the well, a hexagonal base, originally made to support either a cross or a font, now holds a stone cross that was probably once a finial, the decorative terminal piece at the peak of a roof or gable, from the medieval church. Lying on the ground to the south-east is a V-shaped stone fragment, the carved apex of a niche or hood moulding, with a winged angel cut into its surface. Just to the north-north-east sits what appears to be the capital of a column, roughly 42 centimetres across and 28 centimetres high, likely part of the vaulting system of the Crouched Friars' abbey, where such capitals would have supported the ribs of a stone ceiling. A stone corbel carved with an angel was recorded at the site in the late 1970s, though it could not be located on a more recent visit, and may since have been lost or moved.

The cumulative effect is of a site where the devotional and the architectural have become thoroughly entangled. Kilkenny Castle, a separate fortification, lies some 330 metres to the west-south-west, and the broader landscape holds several overlapping layers of medieval activity. The fragments at the well are not labelled or curated in any formal sense; they simply lie where they have been placed, some partly obscured by vegetation, inviting the kind of unhurried attention that institutional display rarely permits.