A church monument is an architectural or sculptural memorial to a deceased person or persons, located within a Christian church. It can take various forms ranging from a simple commemorative plaque or mural tablet affixed to a wall, to a large and elaborate structure, on the ground or as a mural monument, which may include an effigy of the deceased person and other figures of familial, heraldic or symbolic nature. It is usually placed immediately above or close to the actual burial vault or grave, although very occasionally the tomb is constructed within it. Sometimes the monument is a cenotaph, commemorating a person buried at another location.

While the terms 'tomb' and 'monument' are frequently used interchangeably when referring to commemorative sculptures, they have distinct meanings: a tomb serves as a burial place containing bodily remains, whereas a monument functions as a memorial structure. Many people incorrectly assume that elaborate tomb chests house the deceased's remains, when typically the actual burials lie in underground vaults beneath the church floor, with the visible structures serving purely commemorative purposes.

Once only the subject of antiquarian curiosity, church monuments are today recognised as works of funerary art. They are also valued by historians as giving a highly detailed record of antique costume and armour, by genealogists as a permanent and contemporary record of familial relationships and dates, and by students of heraldry as providing reliable depictions for heraldic blazons. From the middle of the 15th century, many figurative monuments started to represent genuine portraiture where before had existed only generalised representations.

The earliest English Christian funerary monuments appeared during the seventh and eighth centuries, though few examples survive from this period. Most were external grave markers, although evidence suggests some were placed inside churches. Before the tenth century, distinctive 'hogback' monuments had emerged, particularly in northern England where Scandinavians had settled. These monuments, resembling Viking longhouses in shape, likely commemorated individual burials and featured decorative elements including geometric patterns, interlacing designs, and representations of roof tiles. Some examples included carved end beasts such as muzzled bears.

Simple grave markers featuring carved crosses became common from the tenth century onwards, with production continuing for several centuries. By the mid-eleventh century, demand grew for burial within church buildings rather than in external churchyards. This practice, initially resisted by church authorities, became increasingly popular due to pressure from elite families seeking privileged burial locations and the belief that proximity to the altar would enhance spiritual intercession.

The growing popularity of high-status burials within churches led to more elaborate commemorative monuments during the twelfth and thirteenth centuries. Decorative carving became more sophisticated, with the emergence of incised and low-relief representations of the deceased. During the thirteenth century, effigies began evolving from simple incised figures into more three-dimensional forms raised above their stone slabs. Military figures started appearing in monumental art, and the fashion developed for depicting armoured effigies with crossed legs - a stylistic choice that demonstrated sculptural skill rather than indicating participation in the Crusades, contrary to popular belief.

From the mid-thirteenth century, monumental brasses began appearing, featuring engraved metal plates (actually latten, an alloy of copper, zinc and tin) set into stone slabs. English workshops initially incorporated small brass elements into traditional incised slabs, but by the early fourteenth century, entire figures were being rendered in brass. The finest examples were often set in polished limestone slabs and represented significant artistic achievements.

Alabaster became increasingly popular for monument construction, particularly after 1370. This soft stone allowed for fine detailed carving when freshly quarried and appealed to medieval patrons for its translucent qualities. Workshops, primarily located in the Midlands near alabaster quarries, produced not only monuments but various religious objects. The use of alabaster declined significantly by the seventeenth century due to the Reformation's impact on religious imagery demand and the depletion of high-quality stone deposits.