For a reason completely unknown to me, certain editors sometimes elongate a punctum when it is isolated. I hesitate to call this an "isolated punctum" because Mocquereau uses that term for something else (which pertains to his particular theories on rhythm). Therefore, a punctum isolated from surrounding neumes will be called in this essay a "lone punctum."
Most of the time, editors do not elongate a lone punctum. For example, no editor elongates this lone punctum:
Vaticana : 1908 Vatican Press Edition, page 195
However, there are certain neumatic phrases which occur in many chants, and for whatever reason some authors elongate them. Two such phrases occur in mode VIII Tracts, as well as the Laudate Dominum Psalm on Holy Saturday 1.3.
1v 
2v 
PAN 14n shows 1v as treated by various editors:
 PANORAMA 14n
All the editions mark a hold on the blue arrow. All the editions also mark some kind of hold on the green arrow.
We see that Solesmes marks a hold on the orange arrow. The Schwann Graduale is very interesting on this point. It also marks a hold here (for what reason I cannot imagine).
Oddly, the Schwann does not leave enough space after the two virga's (before the orange arrow). This would not affect the singing (since there is not a mora vocis on what is already a long note). However, it is strange to find the Schwann Graduale deviating so much.
PAN 14P shows 2v as treated by various editors:
 PANORAMA 14P
Mocquereau, Max Springer, and the Schwann editors all favor a mora on the lone punctum. Again, this is absolutely inexplicable. Pothier never intended a mora there: we can see this by the 1883 and 1895 versions.
Dr. Peter Wagner forgot a barline.
Most of the organ accompaniments to these phrases (especially in the A.Noh) change chords on the lone puntum. In the case of the A.Noh, they do that to leave the option of holding that note (i.e. their edition is based on the Vaticana but has the "requisite flexibility" to work for the various schools). However, the second A.Noh version in PAN 14P shows that they do not always do that.
The final example in PAN 14P shows the problem with the Solesmes editions. Since Mocquereau often deliberatly changes the rhythm of the official edition (yet cannot alter the spacing) he has to make his signs fit, and it is very awkward sometimes. Not only that, but Mocquereau's editions have historically employed very small fonts (going back all the way to the nineteenth century). The last example shows how difficult it can be (sometimes) to read these small editions.
Incidentally, many of the mode VII Tracts we have been considering have a certain neumatic construction which Solesmes reproduces incorrectly. That is to say, Solesmes normally reproduces the note spacing of the Vaticana with absolute precision. However, this time they goofed up (and I must say, visually their version looks better). They left so much space that a mora vocis is implied:
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