From Chapter 4:
It is somewhat singular that the Puritans, who denounced most amusements and pleasures, and who frowned upon most of the occupations or diversions that make for gaiety and the enjoyment of life, did not, as Puritans, denounce the use of tobacco. One or two of their writers abused it roundly; but these were not representative of Puritan feeling on the subject. The explanation doubtless is that the practice of smoking was so very general and so much a matter of course among men of all ranks and of all opinions, that the mouths of Puritans were closed, so to speak, by their own pipes. A precisian, however, could take his tobacco with a difference. The seventeenth-century diarist, Abraham de la Pryme, says that he had heard of a Presbyterian minister who was so precise that "he would not as much as take a pipe of tobacco before that he had first sayed grace over it." George Wither, one of the most noteworthy of the poets who took the side of the Parliament, was confined in Newgate after the Restoration, and found comfort in his pipe.

From Chapter 7:
Hogarth's subscription ticket for the print of Sigismunda was Time smoking a Picture (1761). It represents an old man sitting on a fragment of statuary and smoking a long pipe against a picture of a landscape which stands upon an easel before him. Below, on his left, is a large jar labelled "Varnish." The figure of Time is nude and has large wings. Volumes of smoke are pouring against the surface of the picture from both his mouth and the bowl of his long clay pipe. In The Stage-Coach, or Country Inn-yard, is shown an old woman smoking a pipe in the "basket" of the coach. The plate of The Distrest Poet (1736) shows four books and three tobacco-pipes on a shelf. In the second of the "Election" series—the Canvassing for Votes (1755)—a barber and a cobbler, seated at the table in the right-hand corner, are both smoking long pipes. Apparently they are discussing the taking of Portobello by Admiral Vernon in 1739 with only six ships; for the barber is illustrating his talk by pointing with his twisted pipe-stem to six fragments which he has broken from the stem and arranged on the table in the shape of a crescent. In the frontispiece which Hogarth drew in 1762 for Garrick's farce of "The Farmer's Return from London," the worthy farmer, seated in his great chair, holds out a large mug in one hand to be filled with ale, while the other supports his long pipe, which he is smoking with evident enjoyment.