In conclusion, the early modern Atlantic was an important axis of a dynamic global world where identities and categories could not be fixed and were in a constant state of alteration and transformation. The sheer pace of global migration meant that social realities were never as simple as academically convenient dichotomies of black/white, slave/free, African-descent/Europeandescent/indigenous, or even nègre/mulâtre and French/English divisions suggest. As a man of colour, Saint-Georges was simultaneously outside and inside the inner circle of the classical music world. On the one hand, he was a newcomer and/or 'other' among many others like himself, and the consequent levelling effect made his social mobility conceivable and possible. On the other hand, neither his education nor his tremendous athletic and musical talents erased the colour line. Time and again, he was disparaged as a 'mulatto'. Here, it is important to remember that there was a lot of xenophobic tension in late ancien régime France, and a variety of populations were targets. The Police des noirs of 1777, for example, was introduced at a time of economic dislocation brought on by the American Revolutionary War and, at the same time, regime-wide Protestant hunts were revived. Local police went looking for Protestants in Bordeaux at the same time that they were looking for noirs (blacks).  
Accordingly, while the history of the African diaspora is clearly an important prism through which to view Saint-Georges's life, his biography's strongest contribution is to the development of the presently woefully lacking history of immigration and diversity in metropolitan European history. Saint-Georges did not identify himself in racial terms, as 'black', as 'Afro-French' or as 'Afro-