JF Roxburgh, the legendary first headmaster of England’s Stowe school, once good-humouredly said his overriding purpose was to turn out young men who would be “acceptable at a dance and invaluable in a shipwreck”.

Perhaps the examples he used are somewhat outdated but Roxburgh’s ambition remains both relevant and laudable: his intent was to shape good characters along with sound minds and bodies at the boarding school he led from the 1920s through the 1940s.

He placed an unyielding emphasis on moral courage, civility and a willingness to always put the needs of others before your own. Roxburgh’s goal of producing young men of outstanding character, integrity and ability was certainly fully realised in the form of one of his last protégés, a Bermudian student called Andrew Trimingham.

Trimingham, who died earlier this month at the age of 82, was an extravagantly gifted polymath whose areas of expertise ranged from ancient and modern history to architecture to landscape gardening to the visual arts to theatrical costume design (his knowledge of fashion was literally encyclopaedic — he wrote encyclopaedia entries on the subject for major publishers as an occasional sideline).

His affection for Bermuda, its culture and its people reached an almost romantic pitch at times, as evidenced by his many contributions to the island’s arts and heritage fields over the span of more than six decades. All the while he embodied the virtues of duty, honour, courtesy and sacrifice instilled in him at an early age by Roxburgh.

Trimingham liked to joke he partially repaid his debt to Roxburgh when he worked on the legendary 1960 Broadway production of the Lerner & Loewe musical Camelot — something of a celebration of his mentor’s moral and educational code kitted out as an Arthurian romance, with his one-time headmaster providing the model for the show’s rendering of Merlin.

And it would be fair to say Bermuda partially repaid its debt to Trimingham last year when he was the recipient of the Bermuda Arts Council’s prestigious Patron Award.

Bermuda writer Elizabeth Jones prepared the following appreciation of Mr Trimingham for the Arts Council when the award was presented to the man who proved to be invaluable in so very many capacities last October.Tim Hodgson

Anyone whose memories of Bermuda stretch back to the period from the 1950s to the 1990s will remember the name Andrew Trimingham as being almost synonymous with the arts.

He had a wide range of talents and interests being actively involved in the areas of art, sculpture, theatre, costume design and architecture. He was known for his generous support both in terms of participation and financial contributions.

Thomas Andrew Trimingham was born in Bermuda in 1934, the son of Sir Eldon and Lady Trimingham. Both parents were artistic.

His father designed sail boats, while his mother was an artist who encouraged visual creativity in their home. Andrew’s love for theatre developed at Stowe boarding school in England, where he had leading roles in school plays and learnt how to design and make costumes. He put those skills to good use when he returned to Bermuda in the late 1950s, after three years reading law at Brasenose Oxford, which were, he says, uninspiring.

Back in Bermuda he had two important mentors: Canadian sculptor Evelyn Fay (Byllee) Lang and American actress Elsbeth Gibson. Byllee Lang taught him to sculpt and he served as a model for her sculpture of St Andrew in Bermuda’s Anglican Cathedral.

He never lost interest in sculpture, returning to sculpture school in New York some 30 years later. Looking Back, his bronze of a male slave looking across the ocean to Africa was included in a Bermuda National Gallery Biennial during the 1990s.

But that is looking forward. His other mentor, Elsbeth, encouraged Andrew to develop all his theatrical talents: acting, set design, costume making.

With her he became much involved in the production of Bermuda’s 350th anniversary celebrations. In the early 1960s, he worked with The Association of Producing Artists, a group of New York actors who brought their repertory theatre to Bermuda.

Andrew thus learnt much about the mechanics of theatre, working in Bermuda with distinguished actors such as Rosemary Harris, Ellis Rabb and Richard Easton, who went on to earn Tony Awards and with whom Andrew kept in touch for many years.

It was largely through their encouragement, and Elsbeth’s, that he moved to New York in the 1960s to pursue a career in theatrical costume.

By the end of the decade, Andrew was in charge of the wardrobe of the New York Shakespeare Festival, whose producer/director, Joe Papp, he greatly admired. Had he stayed on in New York, he no doubt would have had a satisfying career in theatrical costume.

But his brother, the late Eldon Trimingham, persuaded him to return to Bermuda in the early 1970s to help with the family business, Trimingham Brothers. However, Andrew’s passion for the theatre continued through his many contributions to theatrical productions in Bermuda.

He worked with Elsbeth Gibson and her actor/director husband Don for their independent DonEL productions. And between 1975 and 1984 he designed sets and made theatrical costumes for nine Bermuda Musical & Dramatic Society productions. Many actors remember the brilliance of his theatrical costumes.

Andrew also directed and acted. In 1976 he directed and funded A Man For All Seasons, a production of the acclaimed Robert Bolt play unconnected with any drama organisation.

The production was a sell-out and it was at this point the then City Hall Theatre benefited from his generosity since all the proceeds were given to pay for its stage curtains and for other improvements.

It was also at this time he held the first of his popular workshops, at no charge, on costume design and construction. In 1978 he played Henry Higgins in a production of the Lerner & Loewe musical My Fair Lady, and in 1984 he took on the mammoth task of directing The Tempest for Bermuda’s 375th anniversary while at the same time designing the play’s sets and costumes.

He was also known for generously but quietly hosting Bermuda Festival artists in the best spirit of Bermudian hospitality.

Andrew also gave generously of his time to organisations other than theatre.

For some years he was president of the Bermuda National Trust and afterwards he wrote Devonshire Parish for The Bermuda National Trust Architectural Series. Together with Jack Arnell, Andrew also co-founded the Maritime Museum, now the National Museum of Bermuda, and coordinated the major effort to ensure the museum would be ready in time for its official opening during the Queen’s 1975 visit. He hired Edward Harris, now the museum’s executive director, who still refers to Andrew as “my first boss”.

Andrew was also appreciated for his acute and sometimes amusing observations on Bermudian architecture during his time as art critic for the Mid-Ocean News and, later, The Royal Gazette. His intent in all this writing was to encourage young artists and architects to produce the best work of which they were capable.

After Trimingham Brothers closed, in 2005 Andrew left Bermuda for England with his civil partner John Adams where they have both restored their 17th-century house and created a show-stopping garden.

They have now been a couple for 40 years.

Andrew has never been forgotten for all his generous contributions and for his encouragement to others.

As local artist Emma Ingham says: “He had an uncanny gift for noticing talent, particularly in the young, and for encouraging the artistically gifted. He is greatly missed.”