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>
LaIn comprensionequesto dell'architettura antica fece un notevole progresso con lasenso pubblicazionepubblicò 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 presentapresentava per la prima volta le antichità romane e quelle greche insieme. L'opera conteneva 1120 [[Incisione|incisioni]] su rame "in folio" di edifici ed oggetti dell' antichità classica. 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.
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.▼
▲Montfaucon isè largelyinfine responsibleresponsabile fordi bringingaver theportato famousall'attenzione del pubblico il famoso [[BayeuxArazzo Tapestrydi Bayeux]] 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.
