The tomb has been rifled, and is now empty, and the effigy of the countess, which still reposed on the monument in Pennant’s time (1772), has now disappeared.[147] On the opposite side of the choir are the triple sedilia and piscina (see Fig. 802), both fine works, but sadly mutilated. They are of the usual style of the period, and are adorned with much carving of a similar description to that of the tomb. Behind the place of the high altar, three large plain corbels are inserted in the wall (see Fig. 802). These seem to have carried a reredos of carved stone, and some fragments of a sculptured stone, such as would have suited for this purpose, still survive (Fig. 806). [Illustration: FIG. 806.--Lincluden College. Fragments of Sculptured Stone.] As in other churches, the choir was reserved for the ecclesiastics, being separated from the nave by a stone screen (see Fig. 804), in which, however, there is a large doorway, six feet wide, which was furnished with an iron grating, through which the interior could be seen from the nave. The upper part of this screen formed a loft, approached by a turnpike stair. The loft, no doubt, carried the rood. It is wider than the screen wall, and is supported by three corbelled courses, decorated with carved work of a large and massive character. The two upper rows represent angels, with wings, and having their hands crossed in front of the breast. The lower row shows a number of groups of figures, much damaged, but apparently representing scenes from the life of Christ. The large arch over the screen formed the western termination of the choir.[148]