[2] Roslin introduced a wider range of narrative in his iconography based on his knowledge of western European art while continuing the conventions established by his predecessors.

[2] Roslin enriched Armenian manuscript painting by introducing new artistic themes such as the Incredulity of Thomas and Passage of the Red Sea.

[4] His style is characterized by a delicacy of color, classical treatment of figures and their garments, an elegance of line, and an innovative iconography.

Roslin's illustrations often occupy the entire surface of the manuscript page and at times only parts of it, in other cases they are incorporated in the texts in harmony with the ensemble of the decoration.

[10] Roslin may have been an offspring of one of the marriages common between Armenians and Franks (any person originating in Catholic western Europe) that were frequent among the nobility but occurred among the lower classes as well.

In the colophon of the Gospel of 1260, Roslin mentions that he has a son, indicating that he was likely a priest since a monk would have no children while a member of the laity would likely not have been an illuminated manuscript painter.

2660) was commissioned by Prince Levon, during the reign of King Het’um (I, 1226 to 1270),[17] copied at Sis by the scribe Avetis, illustrated by Roslin at Hromkla and bound by Arakel Hnazandents.

1965) was copied for the daughter of Constantine of Lampron, lady Keran who after the death of her husband Geoffrey, lord of Servandakar, retired from the world.

Ten years later it was purchased by American rail magnate Henry Walters in Paris, whose long standing interest in Armenian art was rekindled by the tragic events of the previous decade.

[22] In the colophons of the manuscript Roslin describes the brutal sack of the Principality of Antioch by the Mamluk Sultan Baibars: "...at this time great Antioch was captured by the wicked king of Egypt, and many were killed and became his prisoners, and a cause of anguish to the holy and famous temples, houses of God, which are in it; the wonderful elegance of the beauty of those which were destroyed by fire is beyond the power of words.

[26] New zoomorphic creatures are also added to the usual repertoire of winged sphinxes and sirens such as dog or goat headed men carrying branches of flowers along with various quadrupeds and birds.

[7] MS 8321, the mutilated remains of which were formerly at Nor Nakhichevan and now in Yerevan, was commissioned by Catholicos Constantine I as a present for his godchild prince Levon.

Mary and the Child are presented seated on the throne near a grotto combined with in the lower angle with the portrait of Matthew the Evangelist, in reverse proportional correlation.

Art historian Sirarpie Der-Nersessian suggests that Roslin, "bearing in mind that the Magi came from the East, ...has represented the bodyguards with the facial type and costume of the Oriental peoples best known to him, namely the Mongols, the allies of king of Cilicia [Hethum I].

"[33] Sirarpie Der-Nersessian devoted the longest chapter in her posthumously published magnum opus Miniature Painting in the Armenian Kingdom of Cilicia to Toros Roslin whose work she had researched for years.

"[34] A 3.4 meter high statue of Toros Roslin made of basalt was erected in 1967 in front of the entrance of Matenadaran.

[35] A fine arts academy named after Toros Roslin was founded in 1981 by the Hamazkayin Armenian Educational and Cultural Association in Beirut, Lebanon.