Thanks for filling in the detail.
It's explained in the article, but I want to emphasize that "well temperament" was not a single thing, but various separate attempts at compromise. Bach wrote https://en.wikipedia.org/wiki/The_Well-Tempered_Clavier seemingly to celebrate the idea of tunings that sound acceptable in every key (without the wolf fifths of meantone temperaments), but it's not at all clear what specific tuning he had in mind, if any:
> During much of the 20th century it was presumed, possibly mistakenly, that Bach intended equal temperament, which after Bach's death became popular as the standard keyboard tuning, and had been described by theorists and musicians for at least a century before Bach's birth. Accounts of Bach's own tuning practice are few and inexact. …Despite the presumption of equal temperament, research has continued into various unequal systems contemporary with Bach's career; there is debate whether Bach might have meant a range of similar temperaments, perhaps altered slightly in practice from piece to piece, or possibly some single, specific, "well-tempered" solution for all purposes…
Personally, while I know on some academic level that our 12edo minor and major thirds are off by something like 14 cents, they don't sound unpleasant to me. I think it takes a specific sort of ear training to become really, er, attuned to purely consonant intervals and to notice dissonance on that level (which only produces real clashes in the higher harmonics).