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Dom Bernard de Montfaucon ha anche contribuito a far 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 fra il [[1719]] ed il [[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> in 15 volumi, che presenta per la prima volta le antichità romane e quelle greche insieme. TheL'opera work containedconteneva [[intaglio printingIncisione|copperplateincisioni]] foliosu engravingsrame "in folio" ofdelle classicalantichità antiquitiesclassiche. 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.