Lord Cromer married in 1876 Ethel Stanley, daughter of Sir Rowland Stanley Errington, eleventh baronet, but was left a widower with two sons in 1898; and in 1901 he married Lady Katherine Thynne, daughter of the 4th marquess of Bath.
[1] In 1892 Lord Dufferin wrote to Lord Cromer: "These institutions were a good deal ridiculed at the time, but as it was then uncertain how long we were going to remain, or rather how soon the Turks might not be reinvested with their ancient supremacy, I desired to erect some sort of barrier, however feeble, against their intolerable tyranny." In 1906 Lord Cromer bore public testimony to the good results of the measures adopted on Lord Dufferin's "statesmanlike initiative." Such results were, however, only possible in consequence of the continuance of the British occupation.
CROMER, a watering-place in the northern parliamentary division of Norfolk, England, 139 m. N.E. by N. from London by the Great Eastern railway; served also by the Midland and Great Northern joint line. Pop. of urban district (1901) 3781. Standing on cliffs of considerable elevation, the town has repeatedly suffered from ravages of the sea. A wall and esplanade extend along the bottom of the cliffs, and there is a fine stretch of sandy beach. There is also a short pier. The church of St Peter and St Paul is Perpendicular (largely restored) with a lofty tower. On a site of three acres stands the convalescent home of the Norfolk and Norwich hospital. There is an excellent golf course. The herring, cod, lobster and crab fisheries are prosecuted. The village of Sheringham (pop. of urban district, 2359), lying to the west, is also frequented by visitors. A so-called Roman camp, on an elevation overlooking the sea, is actually a modern beacon.
CROMORNE, also CRUMHORNE[1] (Ger. _Krummhorn_; Fr. _tournebout_), a wind instrument of wood in which a cylindrical column of air is set in vibration by a reed. The lower extremity is turned up in a half-circle, and from this peculiarity it has gained the French name _tournebout_. The reed of the cromorne, like that of the bassoon, is formed by a double tongue of cane adapted to the small end of a conical brass tube or crook, the large end fitting into the main bore of the instrument. It presents, however, this difference, that it is not, like that of the bassoon, in contact with the player's lips, but is covered by a cap pierced in the upper part with a raised slit against which the performer's lips rest, the air being forced through the opening into the cap and setting the reed in vibration. The reed itself is therefore not subject to the pressure of the lips. The compass of the instrument is in consequence limited to the simple fundamental sounds produced by the successive opening of the lateral holes. The length of the cromornes is inconsiderable in proportion to the deep sounds produced by them, which arises from the fact that these instruments, like all tubes of cylindrical bore provided with reeds, have the acoustic properties of the stopped pipes of an organ. That is to say, theoretically they require only half the length necessary for the open pipes of an organ or for conical tubes provided with reeds, to produce notes of the same pitch. Moreover, when, to obtain an harmonic, the column of air is divided, the cromorne will not give the octave, like the oboe and bassoon, but the twelfth, corresponding in this peculiarity with the clarinet and all stopped pipes or bourdons. In order, however, to obtain an harmonic on the cromorne, the cap would have to be discarded, for a reed only overblows to give the harmonic overtones when pressed by the lips. With the ordinary boring of eight lateral holes the cromorne possesses a limited compass of a ninth. Sometimes, however, deeper sounds are obtained by the addition of one or more keys. By its construction the cromorne is one of the oldest wind instruments; it is evidently derived from the Gr. aulos[2] and the Roman tibia, which likewise consisted of a simple cylindrical pipe of which the air column was set in vibration, at first by a double reed, and, we have reason to believe, later by a single reed (see AULOS and CLARINET). The Phrygian aulos was sometimes curved (see Tib. ii. i. 85 _Phrygio tibia curva sono_; Virgil, _Aen._ xi. 737 _curva choros indixit tibia Bacchi_).[3]