Source: an anonymous manuscript preserved in the Padua conservatory, thought to be mid-18th century. (Reproduced here below)
“To tune the harpsichord
C-G; G-D; D-A; A-E: Fifths. It is appropriate that they are narrower than the exact fifth, which means that the higher string has not to be pulled up to the right consonance but instead is left quite loose and flat.
C-F; F-Bb: Wider fourths
Bb-Eb; Eb-Ab: Narrower fourths
E-B; B-F#; F#-C#: Perfect fifths
C#-G#: Test. so it makes a perfect fifth
In this partition, major thirds are a little altered in the plus and minor thirds in the minus”
[Translation: Fabrizio Acanfora]
As with almost all mollified meantones, the instructions are somewhat open to interpretation, but the logical limits leave very little room to move. If the first fifths are not significantly tempered, there is no requirement for the two larger-than-pure fifths. Thus there is almost no choice other than to make the first major third C-E pure.