The left-hand figure is occasionally mistaken for a sheela-na-gig, the type of medieval stone carving that features an explicitly displayed female form, often found on church doorways and castles across Ireland. But this figure is doing something different: it stands upright with arms raised and bent at the elbow, palms open and all fingers visible, in what scholars recognise as the orant posture, an ancient attitude of prayer in which the body itself becomes a gesture of supplication. The head is oval, the eyes almond-shaped, the mouth narrow. The torso is well-defined, with a slightly swollen stomach and a visible navel; the genital area is defined but, as researcher Cherry noted in 1993, no attempt is made at display. The legs taper off at the knees. What makes this figure especially affecting is the evidence of continued veneration: crosses have been scratched by pilgrims onto the forehead, the palms, and the stomach, layering later devotion directly onto the carved body.

The second stone, to the right of the entrance, is smaller and more worn. Its figure has a circular head topped with what appears to be a wavy headdress, a swollen stomach, the right arm set on the hip and the left extended outward. It wears a short-sleeved garment that reaches almost to the feet, and a cross has been inscribed on the stomach. Cherry dated the left figure to the later medieval period at the earliest, placing both carvings within a tradition of sacred art tied to pilgrimage sites and well veneration that persisted in Ireland long after the official Reformation. Holy wells, typically springs or natural water sources associated with a local saint or ancient ritual, remained centres of folk devotion across the country for centuries, and the carvings here suggest this site carried considerable ritual significance, the entrance itself marked and guarded by these enigmatic figures.