Gravitational waves from coalescing neutron stars encode information about nuclear matter at extreme densities, inaccessible by laboratory experiments. The late inspiral is influenced by the presence of tides, which depend on the neutron star equation of state. Neutron star mergers are expected to often produce rapidly rotating remnant neutron stars that emit gravitational waves. These will provide clues to the extremely hot post-merger environment. This signature of nuclear matter in gravitational waves contains most information in the 2–4 kHz frequency band, which is outside of the most sensitive band of current detectors. We present the design concept and science case for a Neutron Star Extreme Matter Observatory (NEMO): a gravitational-wave interferometer optimised to study nuclear physics with merging neutron stars. The concept uses high-circulating laser power, quantum squeezing, and a detector topology specifically designed to achieve the high-frequency sensitivity necessary to probe nuclear matter using gravitational waves. Above 1 kHz, the proposed strain sensitivity is comparable to full third-generation detectors at a fraction of the cost. Such sensitivity changes expected event rates for detection of post-merger remnants from approximately one per few decades with two A+ detectors to a few per year and potentially allow for the first gravitational-wave observations of supernovae, isolated neutron stars, and other exotica.

Dudley and Webster state that Vespasian left Britain in A.D. 44, the year following the invasion, in order to attend Claudius' triumph in Rome and receive the triumphalia ornamenta. Webster adheres to this view in a recently published article, and it has been adopted elsewhere. Such a view drastically curtails the duration of Vespasian's command in Britain. This in itself is not perhaps a serious objection to it, even though Suetonius' record of Vespasian's campaign suggests protracted operations. There are other objections that are far more serious.

Interpreting the Aeneid in terms of symbols is nowadays a fashionable and respectable procedure. It can also be highly dangerous, as some of its practitioners frankly admit. For example, Michael C. J. Putnam writes: ‘Any attempt, however sympathetic and careful, to delineate or clarify a poet's special, often private, symbolism, is subject to many hazards. I am not unaware of the difficulties of moving over a terrain wherein the already subtle boundary-line which separates critic from creator grows dimmer still.’ A sterner warning comes from Robert A. Brooks at the beginning of his article on the Golden Bough: ‘The oak-spirit and the King of the Wood, the mistletoe and the Queen of the Dead are all impressive concepts. But if the “real meaning” of the golden bough lies in these or near them, then Vergil must be considered an artist after the fashion of the late David Belasco, who painted the back of his stage sets as well as the front. What is happening on the stage or in the poem we may suspect to be illusory or subsidiary; the real action may be taking place in the carefully prepared but invisible recesses of the scene, approachable only by those who have a pass backstage. This is not Vergil's method …’ The warning should be heeded, even though the writer is citing an extreme case.

The notes that follow are concerned with certain mineralogical problems which could not be discussed at length in my edition of the De Lapidibus (Oxford, 1965). For the most part, only the bare conclusions are stated there.

In handling these problems I owe much to the discussions that I had during his lifetime with Dr. Stanley Smith, and to those that I have had more recently with Professor F. Coles Phillips and Mr. Robert H. S. Robertson.