An over-garment is gathered over the left shoulder and drapes in deep hollows over the left arm. Hair detail is apparent on the left shoulder. The neckline of the robes is slightly scooped and shows a single fold of the fabric, giving it an overall v-shape. The robes are tied at the waist with a broad band of loosely folded cloth, the knot is stylised with a loop of cloth rising at the centre, and both ends are depicted neatly facing down the body at the same level. The knees are apart, the left knee slightly raised with the foot drawn back, whilst the right foot projects to the front of the chamfered base. A series of fabric folds are shown between the knees. The clothes largely conceal the bare feet, but the protruding toes and balls of the feet are shown at a naturalistic angle. The right arm is raised.

Directly below, on the right knee, are two square sectioned holes, approximately 10mm deep, slightly offset from each other as though to take a metal attachment to the sculpture, such as staff or scroll and appear to be primary. Holes like these are evident in other sculptures from the site where iron or copper alloy fittings were secured using a matrix of lead. The left hand may also have borne an attribute such as a book resting on the left knee; there is an area of broken stone supporting this theory. There is also damage to the upper left knee. There is no evidence of metal staining on the stone. Damage to the arms may be a result of wrenching metal attachments from the sculpture at the Dissolution. It is made of fine-grained yellow limestone. There are traces of a bright red pigment on the left-hand side lower back of the throne which may be original. The base of the sculpture retains traces of mortar. The sculpture is made from a fine-grained yellow sandstone and is a little weathered, indicative of an internal position within the Abbey.