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Il metodo esposto nella sua opera teorica è quello seguito per la pubblicazione delle opere dei Padri della Chiesa, cui ha dedicato tanti anni della sua vita. In particolare ha pubblicato le opere complete di [[Atanasio]] e di [[San Giovanni Crisostomo]], nonché i frammenti degli ''[[Exapla]]'' di [[Origene]].<ref name="Bouillet">"Bernard de Montfaucon", in Marie-Nicolas Bouillet and Alexis Chassang (eds.), ''Dictionnaire universel d'histoire et de géographie'', 1878.</ref>

Dom Bernard de Montfaucon ha anche contribuito a fondarefar nascere l'[[archeologia]] come scienza che aiuta la storia a fondarsi non solo sui documenti, ma anche sui monumenti.<br>

La comprensione dell'architettura antica fece un notevole progresso con la pubblicazione àfra partir deil [[1719]] par Bernarded deil Montfaucon[[1724]] 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. He published 15 volumes of ''L'antiquité expliquée et représentée en figures'' between 1719 and 1724. 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]]".<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.