From Chapter 4:
So far Markham: but according to another account, when Rupert told him that there would be no battle, the Duke betook himself to his coach, "lit his pipe, and making himself very comfortable, fell asleep." The original authority, however, for the whole story is to be found in a paper of notes by Clarendon on the affairs of the North, preserved among his MSS. In this paper Clarendon writes: "The marq. asked the prince what he would do? His highness answered, 'Wee will charge them to-morrow morninge.' My lord asked him whether he were sure the enimy would not fall on them sooner? He answered, 'No'; and the marquisse thereupon going to his coach hard by, and callinge for a pype of tobacco, before he could take it the enimy charged, and instantly all the prince's horse were routed."

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.