From Chapter 2:
But the apothecaries were the most usual salesmen, and their shops and the ordinaries were the customary day meeting-places for the more fashionable smokers. The taverns and inns, however, were also filled with smoke, and taverns were frequented by men of all social grades. Dekker speaks of the gallant leaving the tavern at night when "the spirit of wine and tobacco walkes" in his train. On the occasion of the accession of James I, 1603, when London was given up to rejoicing and revelry, we are told that "tobacconists [i.e. smokers] filled up whole Tavernes."

From Chapter 7:
This print is now chiefly of interest because the plate was adorned with a tiny etching by Hogarth, in which appear the figures of the British Lion and Britannia, both with pipes in their mouths, Britannia being seated on a cask of tobacco.

Hogarth was fond of introducing the pipe into his plates. In the tail-piece to his works, which he prepared a few months before his death, and which he called The Bathos, or Manner of Sinking in Sublime Paintings, the end of everything is represented. Time himself, supported against a broken column, is expiring, his scythe falling from his grasp and a long clay pipe breaking in two as it falls from his lips. This was issued in 1764—Hogarth's last published work. In the plate which shows the execution of Thomas Idle, in the "Industry and Idleness" series, Hogarth depicts the little hangman smoking a short pipe as he sits on the top of the gallows, waiting for his victim. The familiar plate of A Modern Midnight Conversation shows a parson in surplice and wig smoking like a furnace while he ladles punch from a bowl—probably meant for a portrait of the notorious Orator Henley. Most of the other guests are also shown smoking long clay pipes.