Legacy Woodworking  Machinery
a division of Phantom Engineering, Inc.
Featuring the Legacy Ornamental Mill!

Gallery Projects:

French Design

Cabinet, Chimney Side
Beaded Crown Molding

Cabinet, Chimney Side
Cove Crown Molding

Cabinet, Chimney Side
Rope Crown Molding

Cabinet, Corner
From salvaged fir

Cabinet, Antique Reproduction
Beaded Dentil Molding

Cabinet, The Green Knight
Dentil Crown Molding

Cabinet, Corner
Pyramid Dentil Molding

Cabinet, Corner
Glyphic Dentil Crown Molding

Chest of Drawers
Early American Design

Cupboard, Hutch
Step-back Server

Cupboard, Hutch
Hoosier Step Back Style

Cupboard, Hutch
Step Back Design w/Dentil Molding

Molding, Dentil (Pyramid Design)
Cabinet Crown Molding

Molding, Dentil (Flute Design)
Cabinet Crown Molding

Molding, Dentil (ButtonDesign)
Cabinet Crown Molding

Molding, Dentil (Glyphic Design)
Cabinet Crown Molding

Molding, Dentil (Railing Design)
Cabinet Crown Molding

Molding, Dentil (Rope Design)
Cabinet Crown Molding

Molding, Dentil (Chain Design)
Cabinet Crown Molding

Molding, Concave
Cabinet Crown Molding

Antique Replica Night Stand

Deck Rails & Balusters

Stairway, Outside
Barley Twist Design

Table, Long
With Drawers

Table, Round
Early American Replication

Early American Replicaton

Table, Round
Early American Replication

Name:  Jane Urban

Address:   Vernonia OR 
Email:   wllflwrcabinetry@aol.com
Type:   Professional

"Without the Legacy, if I wanted to do much of what I am now doing it could only be accomplished by hand carving. The time and effort required for that process would certainly be cost prohibitive."

"Jane's business includes the marketing of her adaptations of replicated period articles. Some of which are represented here. "


Jane Urban

I suspect that my interest in woodworking began with a lifelong love of trees, forests and everything associated with them. This passion for trees expanded to a growing awareness of the beauty and intricacy of wood, culminating in a fascination with antiques, antique restoration and all things architectural. But it was in 1992, on summer hiatus from teaching writing and my graduate studies in Medieval, British Romantic, and contemporary literature that I became fully inducted into the mysteries of woodworking.

That year my husband and I blithely embarked on the leviathan task of building a log home with our own hands. Even though we spent every spare minute at work on the house we did not move into our new home until 1996. My most pointed and painful memories of this time can be encapsulated by saying that 'only the sustained use of an inadequate or an absolutely wrong tool  can give one the deep appreciation  derived of using  the right  tool for the job.' I have since acquired some excellent tools, but given my style, preferences, and woodworking needs, the Legacy is, not just the right tool, but the tool I choose for performing tasks that range from the purely functional, to the pleasingly superfluous and much of  the necessarily experimental stuff that goes on in between. Without my Legacy I would not be able to produce the kinds of furniture that I make. 

Having surprised myself by feeling more affinity for woodworking and carpentry than commuting hither and yon to teach writing and composition, (I live 120 miles round trip from anywhere I could teach) my husband, Paul, and I made the decision to start the business that now operates under the name of Wallflower Cabinetry & Other Fine Furnishings, a small design  and furniture building company located on our property in the coastal mountains of  northwestern Oregon. Although meticulously crafted using time-honored methods of joinery, Wallflower's heirloom quality furniture features more imaginative adaptations of traditional design elements rather than adhering to the rigid constraints of period perfect reproductions.

I love antique furniture (relishing, in particular, the idea that objects of utility can at once be functional, durable and beautiful) and I  have learned much of what I know about craftsmanship from working with old pieces. In the  coarse of learning a craft, every individual finds his or her work influenced by their preferences in art, music, literature, work, etc. and the way those interests and experiences combine in the human imagination give form to individual ideas about design, color, proportion and balance. Almost everything we see is reminiscent of something else but what distinguishes a person, a creature, an object of art or craftsmanship is the individual character either suggested or otherwise expressed by that being or object. I appreciate austerity but tend to favor more elaborately detailed moldings and turnings in my own work.

Having said all that, I can now state why of all the machinery in my shop my little Legacy Ornamental Mill most  simply, safely and effectively allows me to realize my own peculiar notions about how I want a piece of cabinetry or furniture to look and that is why  I value it so highly. So much of the individual character of a piece resides in the execution of details. I  take great pleasure in the fact that I can go to my Legacy and, for example, lighten the severity of a ponderous old  molding profile by adding buttons, dentil  or rope detail. The basic stability of  the way the router is mounted in the Legacy, the pure ingeniousness of its three axis design and its lock down capacity  make  operations simple, straightforward and  most importantly, safe. If you suffer any wariness or just have a good healthy respect for woodworking equipment you will appreciate the enormous difference in the way you are able to function independently in the shop. I live a long way from a hospital and these concerns are always foremost in my mind  but  I find that  the degree to which I feel confident and safe using a machine to be commensurate with the amount of pleasure and  ease I  derive from performing a task in my shop. This is not to imply that any and all woodworking machinery including the Legacy, requires anything less than full attention and careful maintenance when operating. The Legacy allows me to safely perform tasks using bits of cutting depth and diameter that, prior to my acquaintance with the machine, I would have reserved for the shaper - the ultimate beast of a machines that I would never use without someone in attendance.

Because Wallflower Cabinetry was founded on the principle of conservation and reuse I  turn table legs, split turnings, spindles and newels from reclaimed lumber salvaged from either fallen or derelict structures dating from the last two centuries. Without the plunge cutting capacity the Legacy affords me I would be unable to achieve the deeply cut coves and filets on much of the loverly seasoned and difficult lumber I use. I tend to rough out or round the billet on  the lathe and then use my Legacy with a template to index  for placement and depth of cuts along the circumference of the leg then I return it to the lathe to refine the  details

I would encourage anyone interested in expanding his or her woodworking capabilities to explore the potential of this machine. I am in my shop at least six days a we

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