The Muted Viol was originally developed by J. W. Whiteley for Hope-Jones as a variant of Thynne's Viole Sourdine. It had very small scale conical pipes, as little as 1 1/4" at the mouth and 5/8" at the top for 8' CC, with a 1/6 mouth and harmonic bridges. Wedgwood provides the illustration reproduced here, and reports that the Muted Viol �had its origin in an attempt to suppress a slight �spit� often attendant on the speech of Viols of very small scale�. Audsley specifies a scale at CC of 1.53" at the mouth and 0.51" at the top, with a scaling ratio of 1:2. Wedgwood describes its tone as �one of the most beautiful tones conceivable ... deliciously stringy, without evincing the least trace of roughness or horny quality�. Irwin describes it as silvery, clean-toned and luminous. Strony describes the Muted Violins of the theatre organ as an uncommon two-rank celeste with a soft, delicate, bright tone, with those made by Kimball being the most famous. Most sources consider the Viole Sourdine and Muted Viol to be synonymous, though Thynne's Viole Sourdine was cylindrical, not conical. Maclean characterizes the Muted Viol as an echo form of the Spitz Gamba.
Osiris contains six examples of Muted Viol, five examples of Viole Sourdine, three each of Muted Violin and Muted Viole, and two of Viole Conique. No examples of Violino Sordo or Viole à Sourdine are known; the latter name is mentioned only by Audsley. Contributions welcome.