Set into the north transept wall of the modern Carmelite church in Kildare town is a group of late medieval limestone panels that do not quite belong there. They are fragments of something older, displaced from their original context and quietly embedded in a later building, where most visitors are unlikely to give them a second glance.

The panels are believed to have originated in one of two mendicant friaries that once stood in the area. The Carmelite Friary immediately to the south is one candidate, though scholarship has pointed more firmly toward the Franciscan Friary as their source. Among the panels, one stands out for its carving: a sixteenth-century broken limestone piece, roughly 42 centimetres high and 29 centimetres wide, decorated in false relief, a technique that creates the illusion of depth through carving rather than by actually undercutting the stone. It shows the upper portion of a figure holding a patriarchal cross, a cross with two horizontal bars rather than one, in the right hand. The figure is framed within an ogee-headed panel, the ogee being that double-curved arch form, concave below and convex above, that appears frequently in late Gothic ecclesiastical stonework. That the panel is broken means part of the figure and its setting are simply gone, lost at some point during the upheavals that separated these stones from their original tomb.