Sympathetic Vibratory Physics

Made less.
1) Diminished intervals are those made less than minor; G# to Fn is a diminished seventh, because G to F being a minor seventh, G# to F contains one semitone less than the minor interval.
2) A diminished triad is the chord consisting of two thirds on the subtonic, e.g., B, D, F, in the key of C. [Stainer, John; Barrett, W.A.; A Dictionary of Musical Terms; Novello, Ewer and Co., London, pre-1900]

Keely
"The sympathetic acoustic impulses are:
"the DOMINANT - a diatonic third -
"the HARMONIC - the connective "sixth" - and
"the ENHARMONIC - or diminished seventh - which Keely calls a ninth -
"inducing "infinite trajective velocity" or "neutral radiation" from neutral centers. [Snell Manuscript]

Ramsay
That some of the elements of the Chromatic System were known 200 years ago, but have been known so long without being formed into a system, shows that what was known and in use of chromatic chords had been found out from experience, and not from any knowledge of the laws which generate and constitute them. Without the knowledge of these laws they could not be explained; and this accounts for the entire want of order in everything which relates to them, and for the names which been applied to those which are in use, such as "the minor ninth," "the diminished seventh," "the extreme sharp second," etc. One chromatic chord has all these things in it, but it does [Scientific Basis and Build of Music, page 51]

not follow that these are their proper names. In the first chromatic chords, in its major form, B, D, F, A?, G is supposed to be the root; and accordingly the interval from G to A? has been called "a minor ninth;" from B to A? "a diminished seventh;" and from A? to B "an extreme sharp second." These names will vanish like mist of the morning when the intervals so named are seen in the system to which they belong. [Scientific Basis and Build of Music, page 52]

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diminished seventh