In minor - with the raised ^6 and ^7 degrees - we can get a progression like...
F7 G7 | Cm IV65 V65 | i
or maybe this...
F7 G7 | Cm IV7 V42 | i6
F7 bo | Cm IV7 viio | i
My view of this is the essential voice leading is something like...
^4 ^4 | ^3 ↑^6 ↑^7 | ^1
^3 ^2 | ^1 in the inner voices making a nice dominant seventh sonority on the subdominant but not actually functioning as a dominant (it doesn't go to
It wouldn't be right to label it
What about its historical use? Did it get special treatment? Like only the result of passing motion or altogether avoided.