You might find the book "How Equal Temperament Ruined Harmony" interesting, which presents a reasonably strong case that pre-1900s western music treated enharmo

You might find the book "How Equal Temperament Ruined Harmony" interesting, which presents a reasonably strong case that pre-1900s western music treated enharmonics as distinct pitches ("enharmonic" in the old sense seems to have referred to the distinction). Singers knew about major and minor semitones, and they knew where to place commas. Though, no one seemed to go as far as doing full just intonation due to various kinds of obvious and non-obvious impracticalities. All in all, I think it's safe to say that string players and singers prefer slightly flatter thirds in harmonies than 12-EDO -- which is what the above amounts to -- and deal with commas accordingly.