The building measures roughly nine metres north to south and eighteen and a half metres east to west, its walls of roughly coursed rubble still standing to a height that preserves several of its original features. One of them is conspicuously hidden: the east window, which would ordinarily be the most prominent architectural statement in any medieval or post-medieval church, is entirely smothered in ivy. What survives in plain sight is more quietly remarkable, including a pair of small square niches cut into the south-east angle of the interior, whose precise purpose remains unclear, and a single-light window in the south wall with an ogee head, that distinctive S-curved arch form associated with late medieval craftsmanship in Ireland.

The most precisely datable feature is the doorway at the west end of the south wall. It is a two-centred arch, a pointed form common in Gothic construction, but what sets it apart is the quality of its stonework: the jambs are finely punch-dressed with chamfered edges, suggesting a seventeenth-century date and a degree of care unusual for a building of this size and material. Punch-dressing refers to the tooled finish achieved by working stone with a pointed implement to produce a regular, slightly textured surface, a technique associated with more formal building traditions. That this level of finish appears in a rural rubble-built church beside the Mulkear River hints at a community that, even in the seventeenth century, could call on skilled masons. The surrounding graveyard, enclosed by a nineteenth-century wall, contains headstones from the eighteenth and nineteenth centuries, suggesting the site remained in active use long after the church itself fell out of repair.