The Hereford Cathedral Choir Screen, designed by Sir George Gilbert Scott and crafted by Francis Skidmore, is a monumental example of High Victorian Gothic Revival architecture. At ten and a half metres in height, eleven metres in length, and weighing over eight tonnes, this screen's structure is comprised of timber and cast iron, adorned with wrought iron, burnished brass, and copper. The rich colour palette of the painted metalwork is complemented by polished quartz and mosaic panels, creating an elaborate visual spectacle.

The screen’s intricate design features passion flowers as a recurring motif, symbolising Christ’s suffering, while the bearded figure of Christ, flanked by angels, serves as its focal point. These figures, though appearing to be cast bronze, are actually crafted from electroformed copper—a cutting-edge technique of the era that utilized electricity to cast metal, offering a cost-effective alternative to bronze.

Initially exhibited at the 1862 International Exhibition in London, the screen was hailed at the time as the ‘grandest and most triumphant achievement of modern architectural art’. Praised by the Illustrated London News and recognised by the exhibition jury for its size, craftsmanship, and design, the screen earned a medal in at the Exhibition . Christopher Dresser later highlighted the screen in his Principles of Decorative Design as a paragon of artistic metalwork.

The screen’s installation in Hereford Cathedral marked a significant revival of medieval architectural practices by Scott, who sought to restore the traditional pre-reformation division between the nave and chancel. Unlike medieval screens, typically constructed from stone or wood, Scott’s use of iron was a deliberate nod to modernity, integrating the material both structurally and decoratively.

Despite its initial acclaim, the Hereford Screen fell out of favour in the twentieth century, deemed aesthetically incongruous within the medieval cathedral setting. Its removal in 1967, amidst widespread anti-Victorian sentiment, was met with significant public outcry. Nevertheless, the screen was dismantled and transferred to the Herbert Museum in Coventry. Lacking the resources to conserve or display the screen, the museum ultimately transferred it to the Victoria and Albert Museum in 1983, where it remains a key example of Victorian innovation and Gothic Revival artistry.