From Chapter 4:
One inference at least may be fairly drawn, I think, from this document, and that is that smoking was very popular north as well as south of the Tweed.

Tobacco was certainly cheap in Scotland. The following entries are from a MS. account of household expenses kept by the minister of the parish of Eastwood, near Glasgow, the Rev. William Hamilton. They cover two months only and show that the minister was a furious smoker. The prices given are in Scots currency, the pound Scots being worth about twenty pence sterling:

It may perhaps be interesting to compare with these prices, from which, apparently, it may be inferred that near Glasgow tobacco could be bought for some 5d. a pound, which seems incredibly cheap, the occasional expenditure upon tobacco of a worthy citizen of Exeter some few years earlier. Extracts from the "Financial Diary" of this good man, whose name was John Hayne, and who was an extensive dealer in serges and woollen goods generally, as well as in a smaller degree of cotton goods also, were printed some years ago, with copious annotations, by the late Dr. Brushfield.

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.