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Il a fondé l'[[archéologie]] en tant que science en appuyant l'histoire non seulement sur les textes, mais aussi sur les monuments et vestiges du passé.

La comprensione dell'architettura antica fa dei progressi determinanti, soprattutto con la avec la publication à partir de 1719 par Bernard de Montfaucon de ''L'Antiquité expliquée et représentée en figures''<ref>[http://www.ub.uni-heidelberg.de/helios/fachinfo/www/arch/digilit/montfaucon.html L'Antiquité expliquée et représentée en figures] sur le site de la [http://www.uni-heidelberg.de/index.html Ruprecht-Karls-Universität Heidelberg]</ref> en 19 volumes qui présente pour la première fois l'antiquité grecque et l'antiquité romaine en commun. CHe published 15 volumes of ''L'estantiquité durantexpliquée cetteet périodereprésentée ([[1723]])en qufigures''il explorebetween le1719 siteand 1724. An English translation of this work was published in 1721–25 under the title d''Antiquity Explained and Represented in Diagrams''. The work contained [[Olympieintaglio printing|copperplate]] avecfolio l'archevêqueengravings deof classical antiquities. It included a depiction of the "Barberini Vase", more commonly known as the "[[CorfouPortland Vase]]". This book is published in English under the title ''Antiquities''.<ref>{{BBKL|m/montfaucon|band=6|autor= Georgios Fatouros|artikel=Montfaucon, Bernard de|spalten=92-94}}</ref> The materials used in this work were taken from the manuscripts deposited in French libraries. It contains many illustrative facsimiles, though they are engraved in a rather coarse way.

He published 15 volumes of ''L'antiquité expliquée et représentée en figures'' between 1719 and 1724. An English translation of this work was published in 1721–25 under the title ''Antiquity Explained and Represented in Diagrams''. The work contained [[intaglio printing|copperplate]] folio engravings of classical antiquities. It included a depiction of the "Barberini Vase", more commonly known as the "[[Portland Vase]]". This book is published in English under the title ''Antiquities''.<ref>{{BBKL|m/montfaucon|band=6|autor= Georgios Fatouros|artikel=Montfaucon, Bernard de|spalten=92-94}}</ref> The materials used in this work were taken from the manuscripts deposited in French libraries. It contains many illustrative facsimiles, though they are engraved in a rather coarse way.

Montfaucon is largely responsible for bringing the famous [[Bayeux Tapestry]] to the attention of the public. In 1724, the scholar [[Antoine Lancelot]] discovered drawings of a section of the Tapestry (about 30 feet of the Tapestry's 231 feet) among papers of Nicolas-Joseph Foucault, a [[Normans|Norman]] administrator. (These drawings of the Tapestry's images "classicized" the otherwise cruder Anglo-Norman style by adding shadows and dimensionality to the figures.) Lancelot, unsure of what medium these drawings depicted, suggested that they might be tomb relief, stained glass, fresco, or even a tapestry.<ref>Lancelot. Explication d'un Monument de Guillaume le Conquerant</ref> When Lancelot presented Foucault's drawings in 1724 to the [[Academie Royal des Inscriptions et Belles-Lettres]] in Paris, they attracted the attention of Montfaucon, who subsequently tracked down the textile in the drawings with help from [[Benedictine]] colleagues in [[Normandy]].<ref>Elizabeth Carson Pastan. "Montfaucon as Reader of the Bayeux Tapestry" in Janet T. Marquardt and Alyce A. Jordan (eds.) ''Medieval Art and Architecture after the Middle Ages'' (2009) p. 89</ref> This is often regarded as the modern "discovery" of the Bayeux Tapestry, which had gone on quiet display annually in the [[Bayeux Cathedral]] for possibly centuries. Montfaucon published the Foucault drawings in the first volume his ''Les Monumens de la Monarchie Francoise'' [sic]. In anticipation of volume 2 of ''Les Monumens'', Montfaucon employed the artist Antoine Benoit and sent him to Bayeux to copy the Tapestry in its entirety and in a manner faithful to its style, unlike Foucault's "touched up" renditions which were more suitable to 18th-century French tastes. [[Emory University]] art history professor Elizabeth Carson Pastan criticizes Montfaucon for his "Norman Triumphalist" point of view in dealing with the story of the Tapestry, despite the fact that he asserted that one should trust "the best historians of Normandy." She does state, however, that modern scholars are indebted to him for his process of examining many accounts of the [[Norman Conquest]] in interpreting the Tapestry, and his highlighting of the Tapestry's ambiguity and enigma <ref>Elizabeth Carson Pastan. "Montfaucon as Reader of the Bayeux Tapestry" in Janet T. Marquardt and Alyce A. Jordan (eds.) ''Medieval Art and Architecture after the Middle Ages'' (2009) pp. 102-103</ref> (such as why [[Harold Godwinson]] went to Normandy in 1064 or the identity of the elusive Aelfgyva).