It has battlements, loop openings, dressed quoins, and limestone stringcourses, yet it was built around 1820, when such things were already centuries out of fashion as genuine defensive structures. This is a folly in the most straightforward sense: a piece of deliberate architectural theatre, constructed to be looked at rather than to serve any practical purpose.

The structure belongs to the designed landscape of Camas House, which sits roughly 240 metres to the south. The National Inventory of Architectural Heritage records it as a freestanding square-plan two-stage turret, built circa 1820, with a battlemented top and carved copings. The walls are of roughly dressed limestone, a local material common across the region, but the upper stage is given more refined treatment, with dressed quoins at the corners and cut limestone stringcourses, the horizontal bands of stone that divide one level from the next. Loop openings, the narrow vertical slits associated with arrow-fire in genuine medieval towers, add to the theatrical medievalism of the whole composition. The turret sits within a rubble stone boundary wall, which gives it a slightly embedded quality, as though it is part of a fortification rather than an ornament placed into a garden wall. Follies of this kind were fashionable among landed gentry across Ireland and Britain during the late eighteenth and early nineteenth centuries, often used to punctuate a view across parkland or mark the boundary of an estate with something more arresting than a plain gate pier.

The turret is registered with the National Inventory of Architectural Heritage under registration number 21903128, and details can be found through the Buildings of Ireland database at buildingsofireland.ie. Access to the structure itself depends on the grounds of Camas House, so it is worth establishing the situation locally before making a specific journey. The folly is best appreciated as part of the wider demesne landscape rather than as an isolated feature, and its relationship to the house, set some distance to the south, is central to understanding what it was meant to do: give the boundary of the estate a sense of antiquity and drama that the actual age of the property could not provide.