Just over a metre long, it is thought to be the end-slab of a double effigial tomb, the kind of monument that would originally have displayed full-length carved figures of the deceased laid out in relief. What survives is a dense, compressed world of religious imagery and heraldic detail, three figures arranged under ogee canopies, those pointed, arch-within-arch forms characteristic of late medieval Gothic stonework, with coats of arms positioned between them.

The iconography is unusually specific. On the right-hand side stands a winged St Michael holding scales, with a devil grasping at one of the pans, a scene from the weighing of souls at the Last Judgement. His sword is raised in his right hand. Between the figures, a shield bearing three fishes has been tentatively identified as belonging to the Hackett family. The central figure appears to be an archbishop, holding a cross-staff and offering a blessing, and the fragmentary black-letter inscription above him may read as a reference to St Thomas of Canterbury. The word BUTLER is also legible over the adjacent heraldic device, an indented chief differenced by a bendlet sinister, suggesting a connection to the powerful Butler dynasty who had strong ties to Cashel throughout the medieval period. On the left stands St John the Baptist, book in hand, with a camel-skin hanging at his feet, and the letters OHES BAP surviving above him. The scholar John Hunt, writing in 1974, drew attention to the ornamental detail on the return ends of the slab, where small ogee canopies are topped with elaborate pinnacles carrying foliage and interlace patterns.

The slab sits quietly in one of the most visited ecclesiastical complexes in Ireland, yet its layered programme of saints, heraldry, and damaged inscription tends to pass without much notice. The partial lettering is the most tantalising element, enough to suggest identities but not enough to confirm them, leaving the exact patrons of the tomb a matter of reasonable inference rather than settled record.