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 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.