It is not especially large, barely reaching ankle height at its tallest point, and easy to overlook among the enclosures and field walls scattered across the hillside. What sets it apart is a roughly square patch on its surface, less than half a metre across, that was deliberately carved, probably in prehistory, with a small grammar of abstract marks.

The decorated surface carries several distinct motifs. The most prominent is a large, depressed egg-shaped form, roughly 14 centimetres across, worn only a few millimetres into the stone. Beside it, two parallel grooves run close together on a north-east to south-west axis, and toward the north-east corner of the panel there is a small oval ringmark, a closed ring encircling a plain interior, a form that appears frequently in Irish prehistoric rock art and is sometimes called a cupmark-and-ring when the central depression is present. A curvilinear groove curves away to the south-west. The surface also shows a rusty orange-brown square feature and a scattering of both man-made pickmarks and natural pockmarks, the kind left by centuries of freeze-thaw weathering at altitude, which has also damaged a section at the centre of the panel. Distinguishing the deliberate from the accidental is part of what makes such sites genuinely difficult to read. The boulder sits within what appears to have been a working upland landscape, one of hut sites and enclosures, meaning the carving existed alongside, or possibly predated, habitation rather than standing apart from it. The views from the spot extend across the Behy river valley toward Seefin and the Droum Mountains, though whether that orientation held any significance for whoever made the marks is, like so much of Irish rock art, entirely unknown.