Scone Abbey was a house of Augustinian canons. Historians have long believed that Scone was before hat time the center of the early medieval Christian cult of the Culdees. Very little is known about the Culdees but it is thought that a cult may have been worshiping at Scone from as early as 700 AD. Archaeological surveys taken in 2007 suggest that Scone was a site of real significance even prior to 841 AD, when Kenneth MacAlpin brought the Stone of Destiny, Scotland's most prized relic and coronation stone, to Scone.
The priory was established by six canons from Nostell Priory in West Yorkshire under the leadership of Prior Robert, who was the first prior of Scone. The foundation charter, dated 1120, was once thought to be a fake version of the original, but it is now regarded as a copy made in the late 12th century. Perhaps the copy was needed after a fire which occurred there sometime before 1163 and presumably damaged or destroyed the original. Scone Priory suffered a similar destruction of records during the Wars of Scottish Independence.
After the reformation in 1559, Scottish abbeys disappeared as institutions, although not overnight, as some suggest. The abbey at Scone continued to function well into the 17th century. There are existing documents describing repairs made to the spire of the abbey church dating from 1620. Scone Abbey and its attendant parish ceased to function in 1640 and was reformed in the late 16th century as a secular lordship first for the Earl of Gowrie, and then for Sir David Murray of Gospertie. The property and lordship have been in the possession of the Murrays of Scone ever since. Later, this branch of the Murray clan became the Earls of Mansfield.
The precise location of Scone Abbey had long remained a mystery, but in 2007 archaeologists pinpointed the location using magnetic resonance imaging technology. The find revealed the structure to have been somewhat larger than had been imagined and revealed that the Moot Hill had at some point been surrounded by a ditch and palisade; marking it out not as a defensive position but as a hugely significant sanctum within which kings professed their vows to the people of Scotland. A stylised illustration of the abbey on one of its seals suggests that it was a major Romanesque building, with a central tower crowned with a spire.
Today there is a replica of the Stone of Destiny in front of a 19th-century Presbyterian mortuary chapel on Moot Hill.
References:Tyniec Benedictine abbey was founded by King Casimir the Restorer probably around 1044. Casimir decided to rebuild the newly established Kingdom of Poland, after a Pagan rebellion and a disastrous Czech raid of Duke Bretislaus I (1039). The Benedictines, invited to Tyniec by the King, were tasked with restoring order as well as cementing the position of the State and the Church. First Tyniec Abbot was Aaron, who became the Bishop of Kraków. Since there is no conclusive evidence to support the foundation date as 1040, some historians claim that the abbey was founded by Casimir the Restorer’ son, King Boleslaw II the Generous.
In the second half of the 11th century, a complex of Romanesque buildings was completed, consisting of a basilica and the abbey. In the 14th century, it was destroyed in Tatar and Czech raids, and in the 15th century it was rebuilt in Gothic style. Further remodelings took place in the 17th and 18th centuries, first in Baroque, then in Rococo style. The abbey was partly destroyed in the Swedish invasion of Poland, and soon afterwards was rebuilt, with a new library. Further destruction took place during the Bar Confederation, when Polish rebels turned the abbey into their fortress.
In 1816, Austrian authorities liquidated the abbey, and in 1821-1826, it was the seat of the Bishop of Tyniec, Grzegorz Tomasz Ziegler. The monks, however, did not return to the abbey until 1939, and in 1947, remodelling of the neglected complex was initiated. In 1968, the Church of St. Peter and Paul was once again named the seat of the abbot. The church itself consists of a Gothic presbytery and a Baroque main nave. Several altars were created by an 18th-century Italian sculptor Francesco Placidi. The church also has a late Baroque pulpit by Franciszek Jozef Mangoldt.