The site consists of a substantial stone enclosure, roughly circular in shape with an internal diameter of 18.3 metres. The walls, which originally measured about 1.4 metres thick, still show traces of their ancient facing stones both inside and out, with a deliberate entrance gap on the southern side. A curious semicircular kink in the eastern wall appears to be an original architectural feature rather than later damage.

Within this protective enclosure lie the ruins of St. Columbkille’s Chapel, a modest structure measuring 5.75 metres north to south and 3.4 metres east to west internally. The chapel walls, built from mortared slab stones with carefully cut corner stones, are 75 centimetres thick, with the best preserved quoins visible at the northeast corner. The main entrance sits centrally in the eastern wall, surrounded by reused cut stones from earlier construction phases. Inside the northeast corner of the church lies a peculiar feature known as St. Columbkille’s Bed; two horizontal stone slabs bordered on the south by three upright stones. Above this ‘bed’, a small alcove has been carved into the eastern wall, measuring 35 by 20 centimetres and extending 35 centimetres deep into the masonry, playing an important role in the traditional pilgrimage route, or turas, associated with the saint.

The enclosure also contains several cairns topped with early Christian cross slabs. The largest cairn in the southeast corner rises to 85 centimetres and supports two cross slabs; one standing 72 centimetres high displays faint geometric patterns between its arms, whilst a smaller slab bears an inscribed cross alongside other weathered motifs. A second cairn to the northeast, standing 1.13 metres tall, holds another cross slab with a simple cross incised on its western face. Outside the enclosure to the east sits a low mound topped with a large natural boulder known as Leac Na mBonn, or ‘flagstone of the footsoles’. This stone bears a distinctive carved cross within a circle, with the cross arms extending just beyond the circle’s edge to terminate in T shaped bars, creating a design typical of early Irish Christian art.