From Chapter 4:
There is a curious entry in Thomas Burton's diary of the proceedings of Cromwell's Parliament, which suggests that there may then have been the luxury of a members' smoking-room. Burton was a member of the Parliaments of Oliver and Richard Cromwell from 1656 to 1659, and made a practice—for which historical students have been and are much his debtors—of taking notes of the debates as he sat in the House. Members sometimes objected to and protested against this note-taking, but Burton quietly went on using his pencil, and though his summaries of speeches are often difficult to follow, argument and sense suffering by compression, he has preserved much very valuable matter. Referring to a debate on January 7, 1656-57, on an attempt to go behind the previously passed Act of Oblivion, the diarist records that "Sir John Reynolds had numbered the House, and said at rising there were 220 at the least, besides tobacconists." This can only mean that there were at least 220 members actually present in the House when it rose, not counting the "tobacconists" or smokers, who were enjoying their pipes, not in the Chamber itself, but in some conveniently adjoining place, which may have been a room for the purpose, or may simply have been the lobby referred to above in the extract from "Mercurius Pragmaticus."

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.