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.

From Chapter 12:
Perhaps the most absurd and unmeaning of the restrictions that remain, is that which at certain times and in certain places admits the smoking of cigars and cigarettes and forbids the smoking of pipes. The idea appears to be that a pipe is vulgar. There are few restaurants now in which smoking is not allowed after dinner; but the understanding is that cigars and cigarettes only shall be smoked. In some places of resort there are notices exhibited which specifically prohibit the smoking of pipes. Why? At a smoking concert where few pipes are smoked, anyone looking

Athwart the smoke of burning weeds

From Chapter 3:
Taking the whiff, it has been suggested, may have been either a swallowing of the smoke, or a retaining it in the throat for a given space of time; but what may be meant by the "Cuban ebolition" or the "euripus" is perhaps best left to the imagination. "Ebolition" is simply a variant of "ebullition," and "ebullition," as applied with burlesque intent to rapid smoking—the vapour bubbling rapidly from the pipe-bowl—is intelligible enough, but why Cuban? "Euripus" was the name, in ancient geography, of the channel between Eubœa (Negropont) and the mainland—a passage which was celebrated for the violence and uncertainty of its currents—and hence the name was occasionally applied by our older writers to any strait or sea-channel having like characteristics. The use of the word in connexion with tobacco may, like that of "ebolition," have some reference to furious smoking, but the meaning is not clear.

From Chapter 2:
The satirical Dekker might class "tobacconists" with "feather-makers, cobweb-lawne-weavers, perfumers, young country gentlemen and fools," but he bears invaluable witness to the devotion of the fashionable men of the day to the "costlye and gentleman-like Smoak."

It was customary for a man to carry a case of pipes about with him. In a play of 1609 ("Everie Woman in her Humour") there is an inventory of the contents of a gentleman's pocket, with a value given for each item, which displays certainly a curious assortment of articles. First comes a brush and comb worth fivepence, and next a looking-glass worth three halfpence. With these aids to vanity are a case of tobacco-pipes valued at fourpence, half an ounce of tobacco valued at sixpence, and three pence in coin, or, as it is quaintly worded, "in money and golde." Satirists of course made fun of the smoker's pocketful of apparatus. A pamphleteer of 1609 says: "I behelde pipes in his pocket; now he draweth forth his tinder-box and his touchwood, and falleth to his tacklings; sure his throat is on fire, the smoke flyeth so fast from his mouth."