A comparison of the accuracy of perfect fifths, major thirds, and minor thirds in various equally-tempered meantone tunings relative to 5-limit just intonation.
In 1/2-comma meantone, one-half of the syntonic comma of 81/80 (11.06 cents) is taken out of all just perfect fifths. This makes the minor whole tone of 10/9 just, while the major thirds are significantly flat and minor thirds significantly sharp. Technically speaking, the fifths are flat by enough to make four fifths stack to a neutral third instead of a major third.
In 1/3-comma meantone, the fifths are flat by one-third of the syntonic comma of 81/80 (7.17 cents), which makes the minor thirds exactly equal to 6:5. This comes at the expense of the major thirds also being flat by one-third of a comma. Nowadays, 19-tone equal temperament is used, which flattens the fifths by slightly more (7.22 cents). This results in minor thirds being slightly sharp (0.15 cents) and the major thirds slightly flat as well (7.37 cents).
In 2/7-comma meantone, the chromatic semitones are exactly 25:24. Perfect fifths are 6.14 cents flat from 3/2, major and minor thirds are both flat by 3.1 cents, while diatonic semitones are 9.2 cents sharp from 16:15. Nowadays, with 50-tone equal temperament, the chromatic and diatonic semitones are both sharp, and the major and minor thirds are still both flat with the major third being more accurate than the minor third.
In 1/4-comma meantone, which was the most popular tuning used during the early and middle Baroque periods, the major thirds are exactly 5:4 while the perfect fifths and minor thirds are both flat by 1/4 of the syntonic comma. The modern equivalent is 31-tone equal temperament, which has slightly less flattening on the fifths, resulting in major thirds being slightly sharp and minor thirds being flatter from JI than the fifths are.
2/9-Comma meantone is a little-known meantone tuning that was proposed by Lemme Rossi in 1666. It is a slightly less tempered form of quarter-comma meantone.
In 1/5-comma meantone, a modified meantone tuning used during the late Baroque period, perfect fifths are flattened by one-fifth of a syntonic comma while major thirds are sharp by the same amount. The minor thirds are flat by twice that amount, or two-fifths of a comma. This leaves diatonic semitones equal to exactly 16:15 while the chromatic semitones are 12.9 cents sharp of 25:24. 43-Tone equal temperament has slightly less flattening of the fifth but still tunes the fifteenth harmonic almost exactly pure.

In 12-tone equal temperament, the perfect fifths are only two cents flat, while the major and minor thirds are significantly sharper and flatter than just, respectively, reminiscent of Pythagorean tuning, but the fifths are also flat from just by enough to temper out the syntonic comma. This makes 12-EDO a hybrid between Pythagorean, Superpythagorean, and meantone EDOs.
Own work
DASL51984