It began its life in County Longford, at a place called Killeen, and the fact of its relocation is itself a quiet puzzle, one the records do not fully explain. What the records do tell us is what the stone looks like and where it once stood, and that is unusual enough on its own.

The stone was first documented by Crawford in 1913, and again in 1926, when it was recorded at the base of a low mound of stones within the south-eastern quadrant of an ecclesiastical enclosure at Killeen. Ecclesiastical enclosures of this kind, roughly circular or oval boundaries that once defined the sacred space around an early Irish church or monastery, are common survivals across the Irish midlands, though the structures they once contained have often vanished entirely. The stone itself was apparently rectangular in plan, and now measures approximately 0.42 metres by 0.25 metres, standing 0.90 metres tall. On one face, two incised Greek crosses, each set within an incised circle, are connected by a linear bar running between them. The crosses, the circles, and the bar are all defined by incised bands, meaning the designs were carefully cut into the surface rather than raised in relief. The precise date of the carving is not recorded in the sources, but cross-inscribed stones of this type are generally associated with early medieval ecclesiastical activity in Ireland. English noted the stone in 1971, confirming details consistent with Crawford's earlier account.

Because the stone has been moved from its original context in Longford to a location in Dublin South City, a visitor hoping to examine it would need to establish its current precise address before setting out, as the monument record describes only its present general area rather than a specific publicly accessible site. The Longford original location at Killeen, where Crawford first found it, is the more historically grounded context, and those interested in the enclosure it came from may find that site worth investigating separately through the national monuments records. The stone itself is modest in scale, easily overlooked, but the paired crosses linked by that deliberate connecting bar give it a compositional quality that rewards close attention.