[2] The seal is noted for its exceptionally fine and elaborate engraving, and considered "the single best work of glyptic art ever recovered from the Aegean Bronze Age".

[3] The seal portrays a warrior who, having already defeated one opponent sprawled at his feet, is plunging his sword into the exposed neck of another foe holding a "figure-of-eight" shield, while at the same time grabbing the crest of the man's helmet.

It is believed that all these objects were modeled after a well-known prototype, perhaps a wall painting,[10] as it had already been suggested for other Early Mycenaean works of glyptic art;[11] this view is partly shared by the discoverers, who otherwise see an intentional parallel between the winning hero in the sealstone and the person who was buried with it, also in view of the correspondence between his arms and ornaments (e.g., a necklace and a sealstone) and objects that are also found in the grave, close to the body.

[2] The small scale of the intricate details prompted questions regarding ancient Greek civilizations' ability to create such an object; such minute details could have only been created with the help of a magnifying glass; in a survey of lenses in the ancient world, Sines and Yannis[12] note that at least 23 rock crystal lenses have been excavated in and around the Palace of Knossos on Crete, dating to around 1400 BCE.

[13] While dated as belonging to the Aegean Bronze Age, Davis notes that it bears more resemblance to Classical period art, which developed a millennium later, due to the breadth of anatomical knowledge embodied in the stone's engravings.