It has been incorporated into the north end of the altar's west face, which means it functions simultaneously as an ancient carved stone and as part of an actively used liturgical structure. That double existence, one foot in early Christian Ireland and one in a working ecclesiastical interior, gives the piece a particular kind of quiet strangeness.

Only the central section of the slab survives intact, though what remains is carefully documented. The cross is incised rather than raised in relief, a common technique in early Irish stone carving where a design is cut directly into the surface. The horizontal arms are both present, and their terminals differ from one another in a way that suggests either deliberate asymmetry or the work of a carver improvising within a tradition. The left arm ends in a triangular terminal, while the right bifurcates into a roughly crescentic form. The upper and lower terminals of the cross are lost, broken away with the missing portions of the slab. The stone is referenced in Manning's 1985 study as Slab D, and also appears in Higgins's 1987 survey of Irish cross-slabs, placing it within a wider corpus of similar early medieval carving found across Ireland. Teaghlach Éinne itself, the ecclesiastical enclosure to which the slab belongs, is associated with Saint Éinne, or Enda, the sixth-century monastic founder whose community on Inis Mór is considered one of the earliest and most influential in Irish Christianity.