So here is the moment of truth.  Bracing patterns are not really so important, the sound of a guitar depends so much more on things like:

-the tension of the top when the guitar is finished
-the humidity at the time of gluing
-the sequence of steps and the procedure followed

However, since I really don’t know how Arias got the results he did (a fantastic instrument with a sound and architecture that are very much alive over 100 years later) I am trying to replicate exactly what I see in the original guitar.  Many of the antiques I have played have been dead and/or the soundboard badly bellied but not this one.  For example, I can’t imagine what good the mini-braces in the foto below will do but I am using them.  Please note that they show every sign of having been glued on during construction of the guitar.  They are not crack repairs, they have the same shape as the fan braces and they are scalloped after being glued on (I can’t imagine anyone scalloping them through the soundhole).