Its eight-sided form, a shape long associated with baptismal fonts across medieval Christian Europe, the number eight carrying symbolic weight as the number of resurrection and new beginnings, was cut from stone at some point during the medieval period. It now occupies a building of an entirely different era, carrying its age into a space that was not built around it.

The font is traditionally linked to a medieval church on the same site, a connection passed down rather than documented in detail. That association was noted by J. Cuppage and colleagues in their archaeological survey of the Dingle Peninsula, published in 1986 by Oidhreacht Chorca Duibhne, and it represents one of those common but quietly striking survivals in Irish ecclesiastical history, where a single carved object outlasts the structure it was made for and finds itself absorbed into whatever comes next. The Dingle Peninsula is particularly dense with such layered sites, where early Christian, medieval, and post-medieval remains exist in close proximity, sometimes on top of one another.