What is less known is that a further fragment, almost certainly from another such cross, was discovered in the graveyard there around 1954, mounted inside the ruined chancel of the cathedral, and has since disappeared entirely from the record. Its present whereabouts are unknown.

The fragment was small, but what survives in description suggests it was carefully made. The art historian Liam de Paor, writing in 1955, recorded ornament consisting of diagonal frets, the kind of angular, step-like geometric patterning common in Insular art of the early Christian period. Peter Harbison, cataloguing Irish high crosses in 1992, described it as bearing a panel of fretwork and probably a second panel with interlace, the looping knotwork design familiar from illuminated manuscripts and metalwork of the same era. Together, those descriptions point to a fragment of some quality, even if its original scale and form can no longer be assessed. That it was found loose in the graveyard and then mounted in the chancel for safekeeping, only to vanish at some later point, gives it a quietly melancholy status: documented, described, and then lost again.