The date of the work is unknown. The painters are unknown. The scene has not been freshened up in many years, and the whitewash has faded unevenly, so the figures emerge and recede depending on the light. What makes the panel genuinely odd is the technique. The rock appears to have been deliberately burnt beforehand, which left the surface flaky and workable enough for shallow carving; the carver then smoothed areas of that loosened stone to define legs and haunches, and in places used natural faults in the rock itself to stand in for hooves. The finished carvings were painted to make them legible from the road below.

The three horses are arranged in a sequence along a rock face roughly four metres wide and just over a metre tall. The northernmost figure is the clearest: a horse caught at full gallop, its back legs shaped around existing fissures in the stone, though the rider's head and the horse's own head are only faintly suggested, with a possible helmet on the horseman if you look carefully. The central horse is similarly carved but its paint has faded more severely and no longer fills the smoothed area. The southernmost figure is the least defined of the three, despite the rock having been burnt in preparation. Further north along the same face, separate scratched lines seem to describe a creature with a pointed beak and long legs, possibly a bird; this panel was burnt but never painted. According to local tradition, the scene commemorates a hunt that ran from Leamaneh, a tower house a few kilometres to the south-east, all the way to Ballyvaughan on the coast, during which a man was killed. In that reading, the leading animal being chased was a hare rather than a horse. A second theory, noted by Coffey in 1995, connects the imagery to a place in the nearby Kilcorney townland known as the caves of the Wild Fairy Horses. Further carvings once existed to the south of the main panel, reportedly including a ship, but those have been removed.