Loc. cit. (Latin, short for loco citato, meaning "in the place cited") is a footnote or endnote term used to repeat the title and page number for a given work (and author). Loc. cit. is used in place of ibid. when the reference is not only to the work immediately preceding, but also refers to the same page. Loc. cit. is also used instead of op. cit. when reference is made to a work previously cited and to the same page in that work. As such, loc. cit. is never followed by volume or page numbers.

9. R. Millan, "Art of Latin grammar" (Academic, New York, 1997), p. 23.

10. Loc. cit.

In the above example, the loc. cit. in reference #10 refers to reference #9 in its entirety, including page number. Note that loc. cit. is capitalized in this instance.

9. R. Millan, "Art of Latin grammar" (Academic, New York, 1997), p. 23.

10. G. Wiki, "Blah and its uses" (Blah Ltd., Old York, 2000), p. 12.

11. Millan, loc. cit.

In the second example, the loc. cit. in reference #11 refers to reference #9, including page number.

LOC, Loc, or LoC may refer to:

CIT may refer to:

Cit may refer to:

Arp Schnitger (born July 2, 1648 in Schmalenfleth, buried July 28, 1719) was a highly influential German organ builder. He was primarily active in Northern Europe, especially the Netherlands and Germany, where a number of his instruments survive to the present day; his organs can also be found as far away as Portugal and Brazil.

Notable examples still in use include the organ at St. Pancratiuskirche, Neuenfelde, Hamburg [1] (completed in 1688, his largest two-manual instrument); St. Jacobikirche, Hamburg (perhaps the most famous surviving Schnitger organ, completed in 1693)[2]; St. Martinikerk, Groningen, the Netherlands (1692)[3]; St. Ludgerikirche, Norden (1688)[4]; St. Cosmae und Damianikirche, Stade (Schnitger's first organ, completed in 1676 after the death of his teacher Berendt Huss)[5]; St. Peter und Paulkirche, Cappel (perhaps the most authentic of Schnitger's organs still in existence, originally in the Johanniskirche, Hamburg, 1680)[6]; and St. Michaeliskerk, Zwolle, the Netherlands (completed by his son Franz Caspar after Schnitger's death)[7]. Organs like this are credited with inspiring the renaissance in organ building during the early twentieth century, with a return to tracker action and smaller, more cohesive instruments, as distinct from the late-Romantic trend of extremely large symphonic organs. In particular, the organ at the Jacobikirche, Hamburg, played a pivotal role in the organ reform movement beginning in 1925, as a series of conferences taking place at historical organ sites in Germany and Alsace was inaugurated there.