This is a chest tomb, a free-standing rectangular funerary monument whose carved side panels depict the deceased's chosen intercessors, and what survives here has been reassembled from its original pieces into what scholars describe as a reconstituted form. The panels are each just over a metre long and roughly half a metre high, modest in scale, but dense with imagery and detail that rewards a closer look than most visitors pause to give.

Each panel carries seven figures, every one standing within an ogee-headed niche, a pointed arch with a gentle S-curve at its tip, a form common in late medieval Irish stonework. The spaces between the arches are filled with foliage carving, and each figure is identified above in Black Letter script, the angular Gothic lettering used across ecclesiastical Europe from the twelfth century onwards. The north panel opens with St Brigid holding a cross-staff and book, then moves through St Philip carrying five loaves in a cloth, St Bartholomew with a knife held by the blade, St Matthias with a sparth (a type of battle-axe), St Simon with a ship, St Thaddeus with a club, and finally St Matthew, though the carver appears to have confused himself, labelling this last figure Matthias, a name already used for the fourth saint. The south panel presents a different company: St Catherine with her downturned sword and wheel, St James Minor with a club, St Thomas with a spear, St John with a chalice from which a dragon emerges, St James Major in a pilgrim's hat with a scallop shell, St Andrew with a small saltire cross, and St Peter with his key. The scholar John Hunt, writing in 1974, attributed both panels to the Thurles workshop, a local centre of stone carving whose output can be traced across several Tipperary sites. Fragments of a third element survive too, apparently from the lid or upper section of the tomb, showing a mitred head, the central portion of a chasuble with a pallium, and the lower part of the vestment, suggesting the deceased was a bishop or senior churchman.