Daisies are our silver, buttercups our gold: this is all the treasure we can have or hold.

Jan Struther

I started school when I was four and, given that was half a century ago now, it’s not surprising that I can’t recall too much about those earliest years. Two things, however, stand out clearly in my memory: a Nature Table stuffed with seasonal treasures brought in by proud and eager little hands to share (pussy willow, snowdrops, sticky buds, frogspawn, seashells . . . ) and singing the children’s hymn about buttercups and daises, speedwell and roses, raindrops and dew. I’m not particulary prone to reminisence but these hazy memories have drifted back this week as the simple yet exquisite beauty of spring has unfolded around us, urged on by the flood of sunshine and unusual warmth. It is blossom time, the trees bursting into an ordered floral beauty as if in a time lapse film. First, the myrobalan or cherry plum, deep pink buds opening to palest shell, their starry copper centres echoing the rich burnished hues of the new leaves. They are perfect. I am captivated.

In the orchard, several tiny over-pruned trees that we suspected were peaches have proved to be just that, their fragile branches dotted with those candy pink flowers so familiar from our garden in Asturias; I’m not convinced they will ever be persuaded to fruit here but the blossom is a joy nonetheless.

The surrounding landscape is a flurry of white, with drifts of blackthorn and wild plum blossom in the hedges making a dainty froth against the billowing pistachio foam of pussy willow, and the cherries – so typical of the area, so very beautiful – stamping their elegant authority on the landscape. As the cherries unfurl their beguiling blossoms, the myrobalan sheds its petals in a blizzard of confetti; it is so transient, this spring enchantment, so fleeting. I don’t want to miss a moment.

It’s not just about the trees, either. The verges have erupted in a blaze of colour and are carpeted with a rich tapestry of jewelled delights: primroses and pulmonaria, cowslips and celandines, bluebells and violets, wild daffodils and windflowers, dandelions and daisies, wild strawberries and orchids. Such treasures. Their scent is sweet, heady, seductive and the bees are bewitched. Well, who could blame them?

At the end of a particularly gruelling fifteen-hour journey back from Asturias last week, the task list before collapsing into bed was blissfully short: light the stove, have a bite to eat and grab only the bare essentials from the car. Everything else could wait until morning – and yet, and yet . . . The pull of the garden was too strong, I had an urgent need to explore, to see what had changed in our absence. Egged on by the mischievous moon, almost full, and accompanied by the nocturnal calls (lazy drawling croak of barn owls, muffled hoot-and-echo of tawnies, raucous frog chorus) and rustlings of secretive night creatures, we wandered. I love the magic of a moonlit garden, the way everything is dusky, shadowed and silvered, punctuated by pointillist bursts of light: here narcissi, there arabis, the stars of the midnight garden where more deeply-coloured blooms are hidden. We must plant more light flowers, silver foliage, too. I want a garden that beckons at night, a planting of constellations to mirror those wheeling overhead: Orion striding purposefully across the eastern sky, Sirius snapping brightly at his heel; the bent handle of the Plough pointing to brittle Polaris in the north; the smudged cluster of the Pleiades like a soft swarm of bees, seen more clearly when you look away. Yes, we need to plan . . . and then plant.

We’ve started, of course. New fruit trees for new blossom: a sweet Moreau cherry, a sour Morello, a buttery Conference pear. A single redcurrant and lone raspberry, three climbing roses and a hundred hedging slips. I’ve started to find new homes for the wanderers brought from Asturias, tiny roots lifted into pots that have been growing strongly and waiting patiently – mint and chives in shady places, soapwort and comfrey in sunny ones; pulmonaria and Jacob’s ladder to fill a hedge bottom with blue, verbena bonariensis for starbursts of purple, madder for roots of red. There are new surprises here, too, plants that have emerged from their winter slumbers to delight me with their promise of colour and scent: a single hyacinth, a scattering of tulips, the new burgeoning growth of Michaelmas daisies, monkshoods and peonies, fat silvery buds of clematis and grape, glossy new leaves of hidden roses. It’s already a garden of delights.

Short of something to read on our Spanish trip, I pulled The Morville Hours from our bookshelf and read it for the umpteenth time. It’s a gem of a book, one of my all-time favourites which never fails to inspire me. It’s the story of how the author, Katherine Swift, created a garden for the National Trust in my native Shropshire; her rich and mesmerising prose is quite beautiful, her eye for detail completely astonishing. I recognise her restlessness in myself, the fidgety need to be outside and busy at something, even if (in my case) it’s often a rather aimless wandering about. I, too, have a wonderfully patient husband, happy to finish for the day and start cooking dinner while I indulge my stubborn reluctance to stop: is it really that time already? Wait . . . there’s one more bucket of weeds, an extra sprinkle of seeds, a last thing to plant, another one to water. Can I beg just five minutes more? Please?

Katherine Swift was not a gardener, but over twenty years she carved a gloriously abundant creation from a field. She learned as she went, following her instincts and her nose, indulging her senses to the full; absorbing, dreaming, playing.The older I get, the more I understand that it is the child in me that gardens – the little girl at the Nature Table with her nose pressed up against a jar of tadpoles, or a silky buttercup under her chin or a fragile dandelion clock in her hand. I am in constant awe of those horticulturists who can quote Latin names verbatim, who can tell an angustifolia from a tomentosum without batting an eyelid or recognise a rose as ‘Madame Alice Garnier’ or ‘Mr Lincoln’ in one glance. It’s all very clever and grown up, but where’s the wonder? Where is the dazzle of colour, the blast of perfume, the jolt of texture, the burst of flavour? Where, oh where, is the birdsong? After all, what is the tracery of cherry blossom against a blue sky without the diving and swooping of swallows, the cobalt drift of hazy bluebells without the evocative call of the cuckoo?

The National Trust asked Katharine to submit detailed drawn plans for the garden she intended to create. She couldn’t do it, so instead she wrote a vivid description, a magical guided tour of a garden that existed only in her imagination. I love that and feel echoes of the same thing here, where we are creating a new garden in an old space. Yes, we have ideas – vegetable patches, flower borders, herb gardens, orchards, woodland edges, spinneys, climbers and scramblers, hidden nooks and crannies, interesting hints and glimpses that make you want to wander, weaving paths that help you on the way – but as yet they are somewhat vague, soft and shimmering at the periphery of our vision, blurred and shadowy, elusive yet exhilarating. It’s like an outline faintly sketched in soft charcoal, waiting for the bold sweeps of colour and fine detail to bring it to life. Who knows what we will end up with? It feels like a journey that could see us veering off in so many different directions, but whatever happens, of one thing I am certain: as long as I have time to stop and stare, to immerse myself in the wonders of nature around me, to appreciate the minutiae and vastness of the living, breathing world then I will be very, very happy. That’s treasure, indeed.