The round-headed arch they pass beneath, with its carefully punch-dressed jambs patterned in a chequerboard arrangement and a hood-moulding curving above the opening, belongs to the late sixteenth or early seventeenth century. The church itself dates from 1809. That mismatch is quiet but significant, and it raises a question that has not been fully resolved: how exactly did this earlier doorway come to be set into a Georgian-era west gable?

Two possibilities present themselves. The doorway may have been lifted from the ruins of a medieval church that still stands, in fragmentary form, roughly fifteen metres to the east of All Saints', and transplanted into the new building when it went up in 1809. Alternatively, the 1809 church may itself incorporate surviving fabric from a seventeenth-century church that had replaced the medieval one on or near the same site, with the doorway simply carried forward from that intermediate structure into the later rebuild. Either way, the stonework itself speaks to a moment somewhere between the Elizabethan and early Stuart periods, when round-arched ecclesiastical doorways with decorative punch dressing were still being cut by Irish masons. The church that now surrounds it is a Board of First Fruits building, a term referring to the ecclesiastical body that funded the construction of Church of Ireland churches across Ireland during the late eighteenth and early nineteenth centuries, typically to a standardised plan. This one, however, was given some individual character: an octagonal limestone spire with a cast-iron finial, crenellated gable apex, and unusual gablets along the nave elevation. It was enlarged twice to the north, in 1826 and again in 1844, both phases carried out by the architect James Pain.

All Saints' sits in the western quadrant of a graveyard in Castleconnell, County Limerick. Visitors who want to see the doorway closely should approach from the west, where the chequerboard punch dressing on the jambs is most clearly legible in raking light, particularly on overcast days when there is no glare. The ruined medieval church to the east of the building is also within the same graveyard enclosure and worth examining alongside it, since the two structures together suggest several centuries of layered occupation on a single ecclesiastical site.