His work belongs to the Troubadour style, which favoured romanticised depictions of the Middle Ages and the Renaissance. Roybet avoided the dry finish common among many of his contemporaries. Instead, he applied paint with an energetic brushstroke that recalled the techniques of Frans Hals. This method is evident in Late For the Feast, where the focus remains on the weight of fabrics and light on metal. He prioritised physical presence over complex moral narratives.

Collectors today value Roybet for the theatrical quality he brought to domestic spaces. His paintings, such as Staande vrouw die haar planten verzorgt or Zittende Leda met de zwaan, provide a sense of historical drama without requiring knowledge of specific myths. The technical skill in his rendering of silks and satins makes these prints effective decorative pieces. They represent 19th-century French tastes and the era's obsession with the theatrical past.