Donizetti had been gradually considering further involvement with the Parisian stage after the tremendous success of his Lucia di Lammermoor at the Théâtre-Italien in December 1837.
As Roger Parker and William Ashbrook note, "negotiations with Henri Duponchel, the director of the Opéra, took on a positive note for the first time" and "the road to Paris lay open for him", the first Italian to obtain a commission
to write a real grand opera.

In addition, while Donizetti was in Venice for the premiere of Maria de Rudenz the following January, he had met and had been impressed with Adolphe Nourrit, who had been the principal tenor in Paris, having sung roles written for him by the major French composers such as Meyerbeer, Auber, Halévy, as well as Rossini (in William Tell) after that composer had moved to Paris in 1829.
 However, by the late 1830s, Nourrit's popularity in Paris was in decline, and he was in danger of being supplanted in the public's affections by rising star Gilbert Duprez who the composer had tried to interest in a Paris production of L'assedio di Calais (The Siege of Calais) in 1836, but which failed to gain attention outside Italy.

Donizetti returned to Naples on 24 February, where he began planning for the production of Poliuto but, at the same time, he had also hoped for a permanent supervisory appointment at the Collegio di San Pietro a Maiella there.
However, the post went the composer, Saverio Mercadante.
Therefore, on 25 May 1838, Donizetti responded to an invitation from the Paris Opéra to compose two new works, specifying that the contract would require a libretto from Scribe with specific performance dates and a rehearsal periods included.
Now committed to produce his next opera for Naples, the composer wrote Poliuto "with more than half an eye to its potential for it being recast as a French grand opera".

Upon arriving in Naples, Donizetti found that Nourrit was also staying there.
The tenor was determined to "take on a [singing] technique which was so different from that which he had been taught" and he was grateful to the composer for lessons in that technique.
Writing to his wife, he expressed his joy "at being born to a new artistic life" in singing Italian opera under the composer's direction.
He added: [Donizetti is] "pulling strings to get me engaged here".

Nourrit greatly influenced the composer in his choice of subject and in the progress of the new opera, such that Donizetti tailored the title role for the tenor who had, by then, been engaged for the autumn season in Naples.
Moreover, Nourrit is also regarded as important in influencing the preparation of Cammarano's libretto as he adapted Corneille's play from what William Ashbrook describes as "a spiritual drama, with its carefully observed unities" into a Romantic melodrama, achieved by adding plot features such as Poliuto's jealousy of his wife's previous relationship with the Roman pro-consul, Severus (Sévère in this opera), which did not exist in the original play.
In doing so, the play's narrative perspective of the action (which was originally seen through the eyes of Pauline's confidante, Stratonice) was significantly altered by the use of directly shown dramatic action.
This is especially evidenced at the end of act 2 of Poliuto (which became act 3 in Les martyrs) when Polyeucte overthrows the altar.

Work began by 10 May on the music for Poliuto, performances of which appear to have been planned for the autumn season.
However, by the middle of June, the first of several difficulties emerged.
The San Carlo intendant, Domenico Barbaja, needed the libretto to be first approved by the court censor, Royer, who gave his support.
But when the completed libretto finally moved up the chain of command to the king, a response was forthcoming on 11 August to the effect that "His majesty deigned with his own sacred hand to declare that the histories of the martyrs are venerated in the Church and are not presented on the stage".

The opera's last-minute cancellation angered Donizetti so much that he resolved to move to Paris to further his
Donizetti had been gradually considering further involvement with the Parisian stage after the tremendous success of his Lucia di Lammermoor at the Théâtre-Italien in December 1837. As Roger Parker and William Ashbrook note, "negotiations with Henri Duponchel, the director of the Opéra, took on a positive note for the first time" and "the road to Paris lay open for him", the first Italian to obtain a commission
to write a real grand opera.
In addition, while Donizetti was in Venice for the premiere of Maria de Rudenz the following January, he had met and had been impressed with Adolphe Nourrit, who had been the principal tenor in Paris, having sung roles written for him by the major French composers such as Meyerbeer, Auber, Halévy, as well as Rossini (in William Tell) after that composer had moved to Paris in 1829.  However, by the late 1830s, Nourrit's popularity in Paris was in decline, and he was in danger of being supplanted in the public's affections by rising star Gilbert Duprez who the composer had tried to interest in a Paris production of L'assedio di Calais (The Siege of Calais) in 1836, but which failed to gain attention outside Italy.
Donizetti returned to Naples on 24 February, where he began planning for the production of Poliuto but, at the same time, he had also hoped for a permanent supervisory appointment at the Collegio di San Pietro a Maiella there. However, the post went the composer, Saverio Mercadante. Therefore, on 25 May 1838, Donizetti responded to an invitation from the Paris Opéra to compose two new works, specifying that the contract would require a libretto from Scribe with specific performance dates and a rehearsal periods included. Now committed to produce his next opera for Naples, the composer wrote Poliuto "with more than half an eye to its potential for it being recast as a French grand opera".
Upon arriving in Naples, Donizetti found that Nourrit was also staying there. The tenor was determined to "take on a [singing] technique which was so different from that which he had been taught" and he was grateful to the composer for lessons in that technique. Writing to his wife, he expressed his joy "at being born to a new artistic life" in singing Italian opera under the composer's direction. He added: [Donizetti is] "pulling strings to get me engaged here".
Nourrit greatly influenced the composer in his choice of subject and in the progress of the new opera, such that Donizetti tailored the title role for the tenor who had, by then, been engaged for the autumn season in Naples. Moreover, Nourrit is also regarded as important in influencing the preparation of Cammarano's libretto as he adapted Corneille's play from what William Ashbrook describes as "a spiritual drama, with its carefully observed unities" into a Romantic melodrama, achieved by adding plot features such as Poliuto's jealousy of his wife's previous relationship with the Roman pro-consul, Severus (Sévère in this opera), which did not exist in the original play. In doing so, the play's narrative perspective of the action (which was originally seen through the eyes of Pauline's confidante, Stratonice) was significantly altered by the use of directly shown dramatic action. This is especially evidenced at the end of act 2 of Poliuto (which became act 3 in Les martyrs) when Polyeucte overthrows the altar.
Work began by 10 May on the music for Poliuto, performances of which appear to have been planned for the autumn season. However, by the middle of June, the first of several difficulties emerged. The San Carlo intendant, Domenico Barbaja, needed the libretto to be first approved by the court censor, Royer, who gave his support. But when the completed libretto finally moved up the chain of command to the king, a response was forthcoming on 11 August to the effect that "His majesty deigned with his own sacred hand to declare that the histories of the martyrs are venerated in the Church and are not presented on the stage".
The opera's last-minute cancellation angered Donizetti so much that he resolved to move to Paris to further his 
Les martyrs