From Chapter 2:
smoking was soon as common in the country as in London. On Wednesday, April 16, 1621, in the course of a debate in the House of Commons, Sir William Stroud, who seems to have been a worthy disciple of that tobacco-hater, King James I, moved that he "would have tobacco banished wholly out of the kingdom, and that it may not be brought in from any part, nor used amongst us"; and Sir Grey Palmes said "that if tobacco be not banished, it will overthrow 100,000 men in England, for now it is so common that he hath seen ploughmen take it as they are at plough." Perhaps this terrible picture of a ploughman smoking as he followed his lonely furrow did not impress the House so much as Sir Grey evidently thought it would; at all events, tobacco was not banished.

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.