Having opened the black box of Beck's monadicity theorem, I would now like to do the same for monadic descent. While probing around I keep encountering the Beck-Chevalley condition.
Unfortunately, the nlab entry is way above my head. I want to understand the intuitive idea behind this condition in some concrete cases but I don't even know how to start.
What is the intuitive meaning of the Beck-Chevalley condition, either from a geometric perspective or from a logical one? (I don't know type theory.)
$\require{AMScd}$ When you do algebraic geometry, you can consider diagrams like $$ \begin{CD} X @>f>> A\\ @VgVV \\ B \end{CD} $$ where $X,A,B$ are spaces and $g,f$ maps thereof. It is fairly natural to think these as "generalized functions" between $A$ and $B$. They are in fact called "correspondences" between $A$ and $B$, and they organize in a category that contains your category of spaces in (actually two) canonical way(s).
Morally, these guys correspond to "pull-push" functors like $g_*f^* : D(A)\to D(B)$. But there is a subtlety: in order for this to be a well-defined (bi)category, you must specify coherence conditions on a composition law: the most natural thing to do, given a diagram $$ \begin{CD} @. X @>f>> A\\ @. @VgVV \\ Y @>h>> B\\ @VkVV\\ C \end{CD} $$ is to complete it to a pullback $$ \begin{CD} P @>q>> X @>f>> A\\ @VpVV @VgVV \\ Y @>h>> B\\ @VkVV\\ C \end{CD} $$ Notice that you have two seemingly different ways to read your composition, now: the first, as $(kp)_*(fq)^* = k_* p_* q^* f^*$ and the second as $k_* h^* g_* f^*$. When will these two be equal (or rather, canonically isomorphic)?