Abstract: To speak of a multiverse is to conjure the seemingly impossible, forking reality and fracturing “the self” into a frightfully pluralised mess. Whether it’s the grandiose musings of Hollywood or the disenchanted proposals of theoretical physics, multiverses seem to have captured the imagination of modern literature and science alike. Though the exchange of concepts and terminology has been a colourful one, this isn’t the first time… we’ve been here before! The 16th century, in its own dealings with astronomy and perspective, generated another multiverse dialog between the arts and sciences, just as fruitful as the one we find ourselves immersed in now. From Oresme and Cusa’s metaphysics to Bruno and Digges’ astronomy—not to mention painters, composers, theorists and authors—the “plurality of worlds” appears inextricably linked with human-scale concerns like observation and experience. Visual games, riddles, anamorphosis, canons and musical puzzles essentially give us a kind of 16th century multiverse literature. Just as vibrant as that of today, the Renaissance exploration of this contrafactual space is one that also addresses identity, agency, and self. This tradition presents a tantalising resonance with the current paradigm, and an unexpected kinship with a time in many ways parallel to our own.