It is a modest thing, compact and square, and easy to pass without much thought. What gives it a quiet weight is the plaque set into its north-eastern face, which names a woman called Saramsweeny, recorded there as wife to John Fitzpatrick, and dated 1709.

The name Saramsweeny is an anglicised rendering of a Gaelic female name, and its appearance on a formal inscribed monument from the early eighteenth century is a small but telling detail. Commemorative grave markers of this kind, combining a structured masonry pier with a carved cross and lettered inscription, were not universal in rural Connacht at the time, and their presence suggests a family with at least some means and a wish to mark the dead in a durable and legible way. The cross's expanded terminals, where the arms of the cross broaden at their ends, reflect a decorative convention with deep roots in early Christian stonework, here carried forward into a post-medieval funerary context. The monument sits to the east of an earlier recorded structure at Cill Éinne, a site whose name, meaning the church of Éinne, connects it to Saint Enda, the sixth-century monastic founder whose influence across the Aran Islands remained a point of local and ecclesiastical memory long after his own era had passed.