From Chapter 4:
Whether the use of tobacco prevailed as generally among the Cavalier forces is less certain; but as King Charles hated the weed, courtiers may have frowned upon its use. One distinguished cavalier, however, either smoked his pipe, or proposed to do so, on a historic occasion. In Markham's "Life of the Great Lord Fairfax" there is a lively account of how the Duke, then Marquis, of Newcastle, with his brother Charles Cavendish, drove in a coach and six to the field of Marston Moor on the afternoon before the battle. His Grace was in a very bad humour. "He applied to Rupert," says Markham, "for orders as to the disposal of his own most noble person, and was told that there would be no battle that night, and that he had better get into his coach and go to sleep, which he accordingly did." But the decision as to battle or no battle did not rest with Prince Rupert. Cromwell attacked the royal army with the most disastrous results to the King's cause. His Grace of Newcastle woke up, left his coach, and fought bravely, being, according to his Duchess, the last to ride off the fatal field, leaving his coach and six behind him.

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.