The panels are presently serving as the side of an early sixteenth-century Butler effigial tomb, an arrangement where the carved figure of the deceased lies in sculpted relief along the chest. But the slabs fitted against it are not original to that monument at all. Dating from the late sixteenth or early seventeenth century, they belong to a different chest tomb entirely, and were almost certainly repositioned alongside the Butler tomb during the late nineteenth century. Before that, at least one of the panels was recorded in 1840 leaning against the external south wall of the church, so the stones have been quietly migrating around the friary for a very long time.

What makes these panels worth pausing over is the extraordinary density of imagery carved into them. Both share a geometric frieze along the top, separated from the main carvings by a projecting rope moulding, a decorative border twisted to resemble cord, which suggests they may originally have belonged to the same tomb. The smaller of the two panels depicts the Pietà, specifically Our Lady of Pity, her arms outstretched, a dagger piercing her breast, with the crucified Christ lying across her lap. She is flanked by elaborate vases of flowers and foliage, with pillars framing the whole composition. The larger panel is given over to the Arma Christi, the instruments of the Passion, an iconographic tradition in which the objects associated with the suffering and death of Christ are assembled almost as a kind of sacred inventory. Here they surround a central cross inscribed with INRI. To one side are Peter's sword, a seamless garment, a torch, a scourging pillar topped by a cock, a scourge, birch twigs, a jug and ewer, and what may be the severed ear of the servant Malchus. To the other side, a sponge on a stick, a spear, a ladder, a hammer, pincers, a crown of thorns, a purse, a lantern, and a sceptre of reeds. The sun sits on one arm of the cross, the moon on the other. It is an unusually complete and carefully organised rendering of a subject that was common in late medieval and early modern Catholic devotion across Europe, though examples carved in stone with this level of detail are less frequently encountered.