Not through weather alone, but through an act of deliberate erasure: a former rector, apparently offended by the wording of an inscription on the stone, had it physically broken off. Whatever memorial text once accompanied the carved figure of Christ is gone, and no record of its exact wording appears to have survived. What remains is a carved panel measuring roughly 63 centimetres high and 66.5 centimetres wide, showing Christ in relief within a recessed central panel, flanked by two shallower panels bearing the Christogram IHS and pheons. A pheon is a heraldic term for an arrowhead shape, here used decoratively alongside the sacred monogram. A third IHS sits beneath the feet of the figure.

The inscription that was destroyed is believed to have commemorated Rachel, Countess of Bath, a figure of some local significance who, according to the Reverend Seymour writing in 1907 to 1909, resided at Doon Castle and was responsible for building and endowing the church at Lough Gur. The Urban Survey of Limerick, compiled by Bradley and colleagues in 1989, noted that the limestone panel may originally have formed part of a table tomb, a horizontal slab monument raised on supports, common in Irish ecclesiastical settings from the medieval period onward. A second, similar crucifixion slab now stands against the east wall inside St. John's Church, and while closely related in design, it is not identical to the first. It is thought that the two slabs may have been the end panels of the same table tomb, with the arrangement now separated and incomplete.

Knockainy graveyard lies in west County Limerick, in an area with strong associations with early Irish mythology, particularly the goddess Áine and the hill of Knockainy nearby. The church itself is largely ruinous, but elements including the belfry where Seymour originally noted these carvings remain. Visitors should look carefully at both the porch area and the interior of St. John's Church, where the second slab stands. The stonework is modest in scale and easy to overlook, but the Christograms, carved in what is described as false relief into recessed panels, reward close inspection. The condition of both slabs and the question of how much the broken inscription might once have told us about Rachel, Countess of Bath, make this a small but genuinely unresolved piece of Limerick's post-Reformation funerary record.