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:
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.