The rest of the structure has gone entirely, the other walls reduced to nothing visible above ground, and even this surviving fragment of the south side has a gap where its central section was robbed out, the stone carted away at some point for building elsewhere. What makes the remnant worth more than a passing glance is a detail preserved on one of the internal jambstones of a window embrasure at the eastern end: a carved panel of Romanesque knotwork, the interlacing decorative style associated with church building and manuscript art in Ireland from roughly the twelfth century. That a single ornamental jambstone has lasted while the rest of the building dissolved into the landscape gives the fragment an almost incidental quality, as if the decoration survived by accident rather than design.

The church was dedicated to Saint Dima, and the place name Killeenadeema itself reflects that association, killeen being a diminutive form of the Irish cill, meaning a small church or cell. The wall is built of well-cut, roughly coursed limestone blocks set in mortar, indicating a degree of craft and resource that places it clearly within the medieval ecclesiastical tradition rather than the rougher early Christian period. Beneath the modern curved boundary wall of the graveyard to the south, a cashel-like foundation has been identified, a cashel being a stone-walled enclosure of the kind typically surrounding early Irish monastic sites. If this is indeed an earlier enclosing wall, it raises the possibility that there was a formal ecclesiastical enclosure here predating the medieval church itself. O'Flanagan, writing in 1927, noted the site. The graveyard went on to accumulate further layers of religious use, including a chapel and, at its north-eastern end, a nineteenth-century Catholic church that remains the most complete structure on the site today.