It measures roughly 0.4 metres by 0.3 metres, and on one of its faces carries a low-relief interlaced pattern of five broad strands woven together. The carving is compact and deliberate, the kind of knotwork more commonly associated with early medieval manuscript art or high crosses than with a grave-marker in a rural churchyard. Yet that is precisely what this stone appears to have been, set down at some point to mark a burial rather than to decorate a wall.

The stone is recorded by McDonnell in 1965 under the name the "True Lovers' Knot", a title that points toward the local tradition attached to it. According to that tradition, a woman and her lover were buried on opposite sides of the church wall, separated even in death. Roses planted on each grave grew upward over the years and eventually intertwined above the wall, which led the stone to acquire a second local name, the "briar and rose stone". It is the kind of story that attaches itself to places where grief and landscape have had long enough to work on each other. A second stone with a closely similar interlaced design has also been identified elsewhere in the same church, which suggests the pattern was not accidental or improvised but may reflect a local decorative tradition or the work of a single hand.