The central arch of the three-arched stone is inscribed CUM SIT VITA BREVIS DISCITO BENE MORI, a Latin phrase meaning roughly "since life is short, learn to die well." The side arches bear carved angels. It is an unusually concentrated piece of funerary iconography to encounter at a church doorway, and it sets the tone for a building that rewards closer attention.

The church itself is dated by a plaque over the door to 1845, but the site has an older layer. The Ordnance Survey six-inch map of 1842 records a church here with a noticeably different ground plan, suggesting a rebuilding rather than a fresh foundation. What went up in 1845 is a confident piece of Gothic Revival work: cruciform in layout with its long axis running north to south, pointed windows in both the east and west walls, a pentagonal chancel at the southern end, and a bellcote rising from the north gable. Inside, two-bay arcading separates the transepts from the nave, and a sacristy was added to the south. The graveyard, rectangular in shape, contains the graves of clergy, lending the site a certain institutional gravity.

The repurposed headstone at the entrance is perhaps the detail most worth pausing over. Fragments of older grave markers occasionally find a second life as building material, but to place one so deliberately, carved face outward and oriented to greet those entering, suggests it was chosen for its message as much as for its utility.