From Chapter 1:
There is little doubt that the smoke of herbs and leaves of various kinds was inhaled in this country, and in Europe generally, long before tobacco was ever heard of on this side the Atlantic. But whatever smoking of this kind took place was medicinal and not social. Many instances have been recorded of the finding of pipes resembling those used for tobacco-smoking in Elizabethan times, in positions and in circumstances which would seem to point to much greater antiquity of use than the form of the pipes supports; but some at least of these finds will not bear the interpretation which has been put upon them, and in other cases the presence of pipes could reasonably be accounted for otherwise than by associating them with the antiquity claimed for them. In any case, the entire absence of any allusions whatever to smoking in any shape or form in our pre-Elizabethan literature, or in mediæval or earlier art, is sufficient proof that from the social point of view smoking did not then exist. The inhaling of the smoke of dried herbs for medicinal purposes, whether through a pipe-shaped funnel or otherwise, had nothing in it akin to the smoking of tobacco for both individual and social pleasure, and therefore lies outside the scope of this book.

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.