Life and work of Pavao Ritter Vitezović have been subject of many scientific researches and papers. However, his heraldic anthology Stemmatographia sive Armorum Illyricorum delineatio, descriptio et restitutio has generally been overlooked and insufficiently studied. Although some information on the anthology can be found in works of several authors, it is limited, scattered and it fails to offer a full picture of the „Stematographia“ itself. The aim of this paper is to offer a detailed description of both the first and the subsequent edition of „Stematographia“, place it within the Croatian Baroque Slavism, as well as to explain the role of heraldry in the aforementioned period. The first edition of „Sematographia“ was published in 1701, during Vitezović's stay in Vienna and the second one in 1702 in Zagreb. Vitezović himself claims that the second edition was improved in comparison to the first one, and there are differences within both texts which prove this claim. Furthermore, the second edition reveals the true reason „Stematographia“ was written, as well as Vitezović's idea of a shared homeland for all southern Slavs. Vitezović forms „Stematographia“ using coats of arms of various countries, provinces and regions which he considered to be parts of a common Illiricum territory; a territory which can in return be indentified with Croatia. If we analyze „Stematographia“ and Croatia rediviva side by side, it is clear which areas Vitezović has in mind and the way he divides his Croatia, which streaches from Baltic, all the way to Adriatic and Black Sea. Vitezović posseses great knowledge of heraldry and the art of etching, and he uses coats of arms to justify his ideas of the Croatian territory. Coats of arms are proofs of antiquity and authenticity and he complements them with names of old Roman provinces and areas, which he further reinforces using various authors' quotes, namely the Antique ones. This way he forms evidence and foothold for his ideas, claims and vision of Croatia.