The complex monuments associated with both historical and fictional medieval tombs are particularly notable for their ability to create an architectural place as well as an intentional and culturally meaningful space in which to read and interpret the epitaphs. These are not stand-alone sculptures that synonymously convey their meaning in any context. Rather, such monuments have an architectural quality to them that both affects and is affected by their surroundings and necessitates crossing a boundary -physical or metaphorical- in order to access and experience the tomb and epitaph. In doing so, these medieval epitaphs become part of what I identify as an installation. Generally speaking, installation theory centers around the dynamic relationship between structure, site, and public; very much in keeping with medieval commemorative art’s emphasis on architectural design, visibility, and social legacy.