From Chapter 4:
We know also that the Roundhead soldiers smoked in circumstances that did them no credit. In the account of the trial of Charles I, written by Dr. George Bates, principal physician to his Majesty, and to Charles II also, we read that when the sentence of the Court presided over by Bradshaw, condemning the King "to death by severing his Head from his Body," had been read, the soldiers treated the fallen monarch with great indignity and barbarity. They spat on his clothes as he passed by, and even in his face; and they "blew the smoak of tobacco, a thing which they knew his Majesty hated, in his sacred mouth, throwing their broken Pipes in his way as he passed along."

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.