Academic interest in Arts & Crafts architecture has tended - as did the architects themselves - to concentrate on houses. This thesis, for the first time, examines the Arts & Crafts in church architecture: there is no book on 'Arts & Crafts churches'. Monographs on Arts & Crafts architects include their church work, of course, but there has been little consideration of the form as a type, considering as a group churches by architects working in the Arts & Crafts milieu, and at the same time. The thesis starts by discussing the underlying problems - the lack of a clear definition of Arts & Crafts, and the questionable concept of Arts & Crafts architecture. It establishes definitions, sets out criteria for considering architects and their churches, and identifies a group of 35 'core churches' from which the majority of the evidence is drawn. The second chapter sets out the historical contexts - religious, architectural, and cultural - and how these contexts intertwine to foreground the personal and individualism in both spiritual and architectural expression. The central three chapters examine the interplay of client and architect: how the attitudes and beliefs of the former affected their relationship to their churches and architects; and how architects' ideas and interests were expressed in their methods, their buildings' construction and decoration. Chapter six explores the diffusion of Arts & Crafts in churches at the end of the period - the role of enthusiastic amateurs; churches as centres of craft education; manifestations of different, even attenuated forms of the ideas in later churches. After a concluding chapter which suggests that the uncategorisability of the churches - exemplified throughout the thesis - demonstrates the way in which belief moved from the cultural centre to the margins, a substantial Appendix sets out details of the core churches: dates, client, funding, architect, craftsmen, plan.