What makes it worth pausing over is not any single dramatic feature but the way its parts speak to different moments in Irish Catholic life, from the cautious confidence of the pre-Famine era to the more assured expansion of the late 1930s.

The original building was a gable-fronted, six-bay nave church, a form common to the period when Catholic congregations, newly emboldened after Emancipation in 1829, were building in earnest but still working within modest means. The three-stage bell tower at the west end is a particular point of interest: each stage recedes slightly from the one below, finished with stone copings and crosses, and the second stage carries a pointed-arch doorway with a fanlight, flanked by narrow slit windows and framed by a painted limestone label-moulding. That kind of carved label-moulding, the hood of stone that projects above a window or door opening to deflect rainwater, appears again on the tower's upper window and gives the elevation a degree of considered detailing unusual for a rural church of its age. The side aisles were added between 1938 and 1939, and their incorporation required a pointed-arch arcade running the length of the nave, supported on octagonal columns with matching octagonal capitals, a neat piece of interior geometry that separates the spaces without closing them off. Above the entrance, a timber-panelled choir balcony sits over the narthex, the vestibule area at the rear of the nave, reached by a cast-iron spiral staircase. The central aisle and porch are finished in mosaic tile, and a leaded stained-glass window rises above the marble altar.

The church sits directly on the roadside, with a graveyard extending to the south and east, enclosed by a random rubble limestone wall to the north and a rendered wall to the west. The natural slate roof and cast-iron rainwater goods are details worth noticing on the exterior, small signs of the care taken in the original construction and, presumably, in its subsequent maintenance.