: 4part harmony, secondary dominant's deceptive cadence Is it a rule that in a secondary dominant's deceptive cadence the root note goes upper one step to the target chord's root note and the 7th note goes down one step to

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This is true, but think of it less as a rule and more of a byproduct of following other rules. Specifically, following these two concepts will result in what you describe:

The bass moves up by step because, typically speaking, the deceptive resolution is understood as a V moving to its related vi (or VI). There are other deceptive/evaded/attenuated resolutions, but V–vi is certainly the most common (especially in theory textbooks!).

The chordal seventh moves down because it just always does in this style (with one exception that we don't need to mention here). Anytime you have a chord with a seventh, whether it be V7 or ii7 or viio7/vi, the chordal seventh should always move down by step.

So when you follow the two above rules, the byproduct is exactly what you say: the root in the bass goes up while the seventh goes down.