From Chapter 4:
On weekdays many New England Puritans probably smoked as their friends in old England did. A contemporary painting of a group of Puritan divines over the mantelpiece of Parson Lowell, of Newbury, shows them well provided with punch-bowl and drinking-cups, tobacco and pipes. One parson, the Rev. Mr. Bradstreet, of the First Church of Charlestown, was very unconventional in his attire. He seldom wore a coat, "but generally appeared in a plaid gown, and was always seen with a pipe in his mouth." John Eliot, the noble preacher and missionary to the Indians, warmly denounced both the wearing of wigs and the smoking of tobacco. But his denunciations were ineffectual in both matters—heads continued to be adorned with curls of foreign growth, and pipe-smoke continued to ascend.

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.