Mary Magdalene and Joanna appear among the women traveling with and supporting Jesus in Galilee and reappear in Luke’s passion/resurrection witness sequence. Luke thus introduces women early who remain part of the story through the empty tomb.

Luke’s notice that Jesus’ garments were divided by casting lots closely corresponds to Psalm 22:18, where the sufferer’s clothing is divided and lots are cast. The crucifixion scene therefore participates in Psalm 22’s righteous-sufferer pattern even though Luke does not stop to introduce a formal quotation.

Jesus’ final prayer—“Father, into thy hands I commend my spirit”—directly quotes Psalm 31:5. Luke places the psalm’s words on Jesus’ lips at death, turning an individual prayer of trust into the crucified Son’s final act of confidence toward the Father.

The mockery around the crucified Jesus closely echoes Psalm 22:7–8, where onlookers scorn the sufferer and challenge the LORD to deliver the one who trusts him. Luke’s passion scene therefore draws the reader into the psalm’s righteous-sufferer world even without a formal citation marker.

If Luke 23:34a is original, Jesus’ prayer for his executioners forms a striking correspondence with Isaiah 53:12, where the servant is numbered with transgressors and makes intercession for transgressors.

Luke’s repeated declarations before Pilate and Herod that Jesus has not committed a capital crime culminate at the cross when the centurion responds to Jesus’ death by declaring him righteous/innocent, sustaining Luke’s innocence motif through the passion.

Luke narrates darkness, the temple veil torn in the midst, and Jesus’ death within the same Passion scene. Exodus 26 supplies the foundational sacred-boundary function of the veil, while Hebrews 10 later gives the explicit Christological access interpretation through Jesus. This is strong canonical sanctuary/access mirroring, not a direct prediction in Exodus.