It is not especially decorated. There is no carved effigy, no heraldic flourish. What it does have is a Latin inscription cut into the stone in Gothic lettering, rendered in deep false relief, a technique where the letters are formed by carving away the surrounding surface so that the text itself appears raised. The inscription names the man beneath it, his office, and his connection to this particular church, and that combination of restraint and precision is, in its own way, more striking than anything more elaborate might have been.

The slab commemorates Andreas Creagh, identified in the inscription as Magister, a title indicating academic or ecclesiastical standing, and as Decanus, meaning dean, of the church in question. The full Latin reads: Hic iacet Magister Andreas Creagh, quondam istius ecclesie decanus, which translates roughly as "Here lies Master Andrew Creagh, formerly dean of this church." According to the Urban Survey of Limerick, compiled by Bradley and colleagues in 1989, the slab dates to after 1543. It measures 1.72 metres in length and 0.89 metres in width, dimensions recorded by Talbot in 1976, and is made from black fossiliferous limestone, a stone type that contains the visible remains of ancient marine organisms within its surface, which gives it a subtly textured appearance when light catches it at an angle. The slab sits within the chapel of St. Nicholas, also known as the Arthur Chapel, inside St. Mary's Cathedral in Limerick city.

St. Mary's Cathedral is open to visitors and the Arthur Chapel is accessible within the building. The graveslab is set into or near the chapel floor, so it is worth pausing and looking downward rather than only at the walls and windows. The Gothic lettering is on the lower half of the slab, and while the inscription is in Latin, the layout of the text makes the individual words legible even to those without the language. The cathedral itself dates to the 12th century, which means the Creagh slab, post-medieval as it is, arrived into a building already several hundred years old. That layering of periods, one era's memorial placed within another era's architecture, is something the building quietly accumulates, and this particular slab is one of the less-remarked pieces of it.