From Chapter 2:
It chaunc'd me gazing at the Theater,
To spie a Lock-Tabacco Chevalier
Clowding the loathing ayr with foggie fume
Of Dock Tobacco friendly foe to rhume—

says a versifier of 1599, who did not like smoking in the theatre and so abused the quality of the tobacco smoked—though admitting its medicinal virtue. Dekker suggests, probably with truth, that one reason why the young gallant liked to push his way to a stool on the stage, notwithstanding "the mewes and hisses of the opposed rascality"—the "mewes" must have been the squeals or whistles produced by the instrument which was later known as a cat-call—was the opportunity such a prominent position afforded for the display of "the best and most essential parts of a gallant—good cloathes, a proportionable legge, white hand, the Persian lock, and a tolerable beard." Apparently, too, serving-boys were within call, and thus lights could easily be obtained, which were handed to one another by the smokers on the points of their swords.

From Chapter 5:
At the time of the Restoration tobacco-boxes which were considered suitable to the occasion were made in large numbers. The outside of the lid bore a portrait of the Royal Martyr; within the lid was a picture of the restored king, His Majesty King Charles II; while on the inside of the bottom of the box was a representation of Oliver Cromwell leaning against a post, a gallows-tree over his head, and about his neck a halter tied to the tree, while beside him was pictured the devil, wide-mouthed. Another form of memorial tobacco-box is described in an advertisement in the London Gazette of September 15, 1687. This was a silver box which had either been "taken out of the Bull's Head Tavern, Cheapside, or left in a Hackney Coach." It was "ingraved on the Lid with a Coat of Arms, etc., and a Medal of Charles the First fastened to the inside of the Lid, and engraved on the inside 'to Jacob Smith it doth belong, at the Black Lyon in High Holborn, date August 1671.'"