The graveyard is still actively used, and yet at its core the ruined medieval church is so crowded with carved monuments and railed enclosures that it functions almost as an outdoor gallery, layers of memory compressed into a small space.

What gives the site particular interest to historians of funerary art are three carved Doric monuments from the eighteenth century, a style of commemorative stonework associated with classical columns and formal architectural detailing applied to grave markers rather than buildings. The earliest of the three, the Longfield monument dated 1765, has been identified as working in the manner of the Kidwell school, a tradition of high-quality Irish monumental sculpture that takes its name from the English-born sculptor William Kidwell, who brought a refined classicism to Irish memorial work in the early eighteenth century. The other two monuments in the group are dated 1745 and 1778, suggesting a sustained local appetite for this kind of refined commemorative work across several decades. Fitzgerald, writing in the early twentieth century, drew attention to all three. The earliest legible headstone in the graveyard also carries the date 1765, though a great many of the stones have weathered beyond reading.