What makes the place quietly arresting is not its scale but its detail. One window in the nave's south wall, noted by the historian William Carrigan writing in 1905, was never glazed at all; instead of glass it had only a wooden shutter, and the heel-stone that held it in place was still sitting in position when Carrigan examined the building. The same window splays dramatically inward, barely ten centimetres wide on the outside face but opening to one and a half metres on the interior, a design that admits a thin blade of light and diffuses it broadly across the space within.

The church comprises a nave and a slightly later chancel, the two not bonded together in the masonry, suggesting they were built in separate phases. The nave's south wall is the most intact surviving element, carrying a pointed doorway with punch-dressed stonework and chamfered edges, and two broken-out window openings. Corbels near the west end of the same wall indicate that a timber gallery once stood there. The chancel, accessed through a low segmental-headed doorway in its south wall, once connected to a sacristy; by Carrigan's time that doorway led instead into a purpose-built enclosure housing the tombs of the Murphy family of Gragara and Annaghs Castle. The chancel's east window, tall and narrow externally but widely splayed within, retains its voussoirs (the wedge-shaped stones forming the arch) though the dressed surrounds are gone. Two small square apertures, roughly twelve to fifteen centimetres across, pierce the wall on either side of that window, their purpose unrecorded. A graveslab dating to the thirteenth or fourteenth century was recorded inside the chancel, along with a dispersed wall monument. The baptismal font that once belonged to the church has long since been removed to the churchyard of Conahy Roman Catholic church, where it remains.