A mortar, or possibly a water stoup, measuring roughly ten inches high and eleven inches in diameter, was dug up in a nearby garden in the early twentieth century and brought into the church's care. Around its body are four carved human faces, one of them damaged, each set between vertical rolls of stone. Scholars have dated it to the thirteenth or fourteenth century, and local tradition holds that it came from a Cistercian abbey that once stood close by.

The church itself is a relatively recent affair by the standards of Irish ecclesiastical architecture. Designed by A. Hargrave, it was built in 1802 on a new site and consecrated in 1809, serving as the Church of Ireland parish church for Fermoy. The fabric is random-rubble dark stone, offset by lighter limestone details, including the surrounds of the large round-headed nave windows and a triple-light east window. The west end is dominated by a two-storey tower and spire, though the original spire was removed in the 1820s and replaced at some later point with the one that stands today. At the west end of each nave wall, a blind rectangular niche sits below an oval recess, both picked out in pale stone, giving the exterior a deliberate, slightly formal rhythm that extends around the apse as well.

The carved mortar is the genuinely puzzling element here. Whether it functioned as a practical grinding vessel or as a liturgical water stoup is uncertain, but the presence of four faces, a form with deep roots in medieval Irish stonework, suggests it was made with some care and intention. Its journey from garden soil to church interior, by way of a vanished abbey, is the kind of quiet material survival that tends to go unannounced.